Re: [Finale] OT: Vocal Underlay of "Mrs.:

[Aaron Sherber]

There are a number of examples of this in Britten's operas -- not exactly
au courant, but I've always found him to be a model of notational clarity.
He used both "Missus" and "Mrs."; a quick flip through some scores shows
more of the latter than the former.

Aaron.





On Mon, Sep 2, 2019 at 5:21 AM Giovanni Andreani 
wrote:

> I would consider using the word extension symbol; although it is intended
> for a melisma, it might point out the composer’s intention and, as Jennifer
> Higdon points out, the singer should be able to find the best placing.
>
>
> 
>
> Giovanni Andreani
>
> www.giovanniandreani.com
> www.ga-music.com
>
>
> > On 28 Aug 2019, at 02:43, Michael Edwards 
> wrote:
> >
> > [ Robert Patterson: ]
> >
> >> FWIW (joking aside) my copy of Merriam Webster correctly identifies
> >> "missus" as dialect in one of the definitions, and I would rather avoid
> >> that implication.
> >
> > In that case, how would "Mr  -  s." go?  But that might cause the
> singer to start pronouncing "Mister" - although surely as they got to know
> the line they would realize it's not that, so it shouldn't be an issue.
> (Nothing seems truly satisfactory.)  Maybe "mis-sus" or "miss-us" in
> parentheses underneath the "Mr  -  s." would look like a pronunciation
> guide rather than dialect.
> > Or, alternatively, "Mrs.  -" (the hyphen acting as a syllable
> extension and going under the second note).  That wouldn't need the
> pronunciation guide underneath in parentheses.
> >
> > Michael Edwards.
> >
> >
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Re: [Finale] OT: Vocal Underlay of "Mrs.:

[Giovanni Andreani]

I would consider using the word extension symbol; although it is intended for a 
melisma, it might point out the composer’s intention and, as Jennifer Higdon 
points out, the singer should be able to find the best placing.




Giovanni Andreani

www.giovanniandreani.com
www.ga-music.com


> On 28 Aug 2019, at 02:43, Michael Edwards  wrote:
> 
> [ Robert Patterson: ]
> 
>> FWIW (joking aside) my copy of Merriam Webster correctly identifies
>> "missus" as dialect in one of the definitions, and I would rather avoid
>> that implication.
> 
> In that case, how would "Mr  -  s." go?  But that might cause the singer 
> to start pronouncing "Mister" - although surely as they got to know the line 
> they would realize it's not that, so it shouldn't be an issue.  (Nothing 
> seems truly satisfactory.)  Maybe "mis-sus" or "miss-us" in parentheses 
> underneath the "Mr  -  s." would look like a pronunciation guide rather than 
> dialect.
> Or, alternatively, "Mrs.  -" (the hyphen acting as a syllable extension 
> and going under the second note).  That wouldn't need the pronunciation guide 
> underneath in parentheses.
> 
> Michael Edwards.
> 
> 
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Re: [Finale] OT: Vocal Underlay of "Mrs.:

[timothy price]

This is a pretty trivial matter, but since it is being discused, might as well 
get it right

Interesting that you say MISSUS is the preferred form of the abbreviation 
“Mrs.”.  Please provide your reference source.

Missis and Missus are two different words with different uses: missis is the 
prefix, missus is a stand-alone slang noun.

Missus is used by itself in an inform reference to a man’s spouse. “Me and the 
missus are going out”. It is not the prefix in addressing a woman by name. “Mrs 
Delfin, isn’t here”... the predix is written out as “Missis Delfin”.

“Mrs., first recorded in the early 17th century, was originally, like Miss, an 
abbreviation of mistress.Mrs. and mistress were at first used interchangeably 
in all contexts, but by the second half of that century, the written form of 
the abbreviation was largely confined to use as a title preceding a woman's 
surname. By the early 19th century, reduction of the medial consonant cluster 
had contracted the usual pronunciation of the title from  [mis-tris] to  
[mis-is] or  [mis-iz] . The contracted pronunciation used other than as a title 
was not considered standard, and today, locutions like Let me discuss it with 
the missis are perceived as old-fashioned. Currently, two main types of 
pronunciation for the abbreviation occur in the United States;  [mis-iz] and 
sometimes [mis-is] are the common forms in the North and North Midland, while 
in the South Midland and South, the prevalent types are  [miz-iz] and  [miz] , 
the latter homophonous with the usual pronunciation of the abbreviation Ms.”. 
https://www.dictionary.com/browse/mrs


> On Aug 27, 2019, at 9:55 PM, Jon Delfin  wrote:
> 
> "Mis-sus" is the accepted spelling/syllabification in music and in text.
> There's also at least one movie title that uses it. It's not offensive (the
> dictionary's reference to "dialect" is not prohibitive or damning). If
> everyone refuses to accept a century of precedent, I have nothing further.
> 
> On Tue, Aug 27, 2019 at 9:03 PM Christopher Smith <
> christopher.sm...@videotron.ca> wrote:
> 
>> In “Me and Mrs. Jones” the publisher spells it “mis-sus”, which I am not
>> sure about. I would have spelled it as “miss-es”, since it is pronounced
>> the same as “hits and misses” with the last “s” voiced (“z”) and nobody has
>> to question whether it’s actually unvoiced the way they would if you
>> spelled it “mis-sus”.
>> 
>> The Paul Simon music I have seen (Mrs. Robinson) is variously spelled
>> “mis-sus” and “Mrs._” with a slur over two notes, which I think is dead
>> wrong.
>> 
>> Christopher
>> 
>>> On Aug 27, 2019, at 8:43 PM, Michael Edwards 
>> wrote:
>>> 
>>> [ Robert Patterson: ]
>>> 
 FWIW (joking aside) my copy of Merriam Webster correctly identifies
 "missus" as dialect in one of the definitions, and I would rather avoid
 that implication.
>>> 
>>>In that case, how would "Mr  -  s." go?  But that might cause the
>> singer to start pronouncing "Mister" - although surely as they got to know
>> the line they would realize it's not that, so it shouldn't be an issue.
>> (Nothing seems truly satisfactory.)  Maybe "mis-sus" or "miss-us" in
>> parentheses underneath the "Mr  -  s." would look like a pronunciation
>> guide rather than dialect.
>>>Or, alternatively, "Mrs.  -" (the hyphen acting as a syllable
>> extension and going under the second note).  That wouldn't need the
>> pronunciation guide underneath in parentheses.
>>> 
>>> Michael Edwards.
>>> 
>>> 
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Re: [Finale] OT: Vocal Underlay of "Mrs.:

[Jon Delfin]

"Mis-sus" is the accepted spelling/syllabification in music and in text.
There's also at least one movie title that uses it. It's not offensive (the
dictionary's reference to "dialect" is not prohibitive or damning). If
everyone refuses to accept a century of precedent, I have nothing further.

On Tue, Aug 27, 2019 at 9:03 PM Christopher Smith <
christopher.sm...@videotron.ca> wrote:

> In “Me and Mrs. Jones” the publisher spells it “mis-sus”, which I am not
> sure about. I would have spelled it as “miss-es”, since it is pronounced
> the same as “hits and misses” with the last “s” voiced (“z”) and nobody has
> to question whether it’s actually unvoiced the way they would if you
> spelled it “mis-sus”.
>
> The Paul Simon music I have seen (Mrs. Robinson) is variously spelled
> “mis-sus” and “Mrs._” with a slur over two notes, which I think is dead
> wrong.
>
> Christopher
>
> > On Aug 27, 2019, at 8:43 PM, Michael Edwards 
> wrote:
> >
> > [ Robert Patterson: ]
> >
> >> FWIW (joking aside) my copy of Merriam Webster correctly identifies
> >> "missus" as dialect in one of the definitions, and I would rather avoid
> >> that implication.
> >
> > In that case, how would "Mr  -  s." go?  But that might cause the
> singer to start pronouncing "Mister" - although surely as they got to know
> the line they would realize it's not that, so it shouldn't be an issue.
> (Nothing seems truly satisfactory.)  Maybe "mis-sus" or "miss-us" in
> parentheses underneath the "Mr  -  s." would look like a pronunciation
> guide rather than dialect.
> > Or, alternatively, "Mrs.  -" (the hyphen acting as a syllable
> extension and going under the second note).  That wouldn't need the
> pronunciation guide underneath in parentheses.
> >
> > Michael Edwards.
> >
> >
> > ___
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Re: [Finale] OT: Vocal Underlay of "Mrs.:

[Christopher Smith]

In “Me and Mrs. Jones” the publisher spells it “mis-sus”, which I am not sure 
about. I would have spelled it as “miss-es”, since it is pronounced the same as 
“hits and misses” with the last “s” voiced (“z”) and nobody has to question 
whether it’s actually unvoiced the way they would if you spelled it “mis-sus”.

The Paul Simon music I have seen (Mrs. Robinson) is variously spelled “mis-sus” 
and “Mrs._” with a slur over two notes, which I think is dead wrong.

Christopher

> On Aug 27, 2019, at 8:43 PM, Michael Edwards  wrote:
> 
> [ Robert Patterson: ]
> 
>> FWIW (joking aside) my copy of Merriam Webster correctly identifies
>> "missus" as dialect in one of the definitions, and I would rather avoid
>> that implication.
> 
> In that case, how would "Mr  -  s." go?  But that might cause the singer 
> to start pronouncing "Mister" - although surely as they got to know the line 
> they would realize it's not that, so it shouldn't be an issue.  (Nothing 
> seems truly satisfactory.)  Maybe "mis-sus" or "miss-us" in parentheses 
> underneath the "Mr  -  s." would look like a pronunciation guide rather than 
> dialect.
> Or, alternatively, "Mrs.  -" (the hyphen acting as a syllable extension 
> and going under the second note).  That wouldn't need the pronunciation guide 
> underneath in parentheses.
> 
> Michael Edwards.
> 
> 
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Re: [Finale] OT: Vocal Underlay of "Mrs.:

[Michael Edwards]

[ Robert Patterson: ]


FWIW (joking aside) my copy of Merriam Webster correctly identifies
"missus" as dialect in one of the definitions, and I would rather 
avoid

that implication.


 In that case, how would "Mr  -  s." go?  But that might cause the 
singer to start pronouncing "Mister" - although surely as they got to 
know the line they would realize it's not that, so it shouldn't be an 
issue.  (Nothing seems truly satisfactory.)  Maybe "mis-sus" or 
"miss-us" in parentheses underneath the "Mr  -  s." would look like a 
pronunciation guide rather than dialect.
 Or, alternatively, "Mrs.  -" (the hyphen acting as a syllable 
extension and going under the second note).  That wouldn't need the 
pronunciation guide underneath in parentheses.


Michael Edwards.


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Re: [Finale] OT: Vocal Underlay of "Mrs.:

[Aaron Rabushka]

Perhaps including the precise syllabification in small type in addition to the 
"official" working in the regular type.

-Original Message-
From: Finale [mailto:finale-boun...@shsu.edu] On Behalf Of timothy price
Sent: Tuesday, August 27, 2019 12:32 PM
To: finale@shsu.edu
Subject: Re: [Finale] OT: Vocal Underlay of "Mrs.:

Sometimes spellings errors are there to match the rhyming patterns.  AWALNATION 
does “Bad Wolf” with:   
“Oh my God I think I might’ve made a mustake Waiting patiently was waiting 
taking up space We are waiting taking up space.”

But all I got was “how do you notate “Mrs.”, a one syllable word, over two 
notes? Well simple, you don’t want to abbreviate the word.  The proper word for 
the intent and purpose is “Mis-sis”.
English language is quite well developed.

best
tim


> On Aug 27, 2019, at 12:47 PM, Don Hart  wrote:
> 
> Or, along the lines of my earlier idea: "Mrs." centered under the 
> notes and "missus" or the dictionary spelling of the pronunciation in 
> parentheses, right below.  Wouldn't that avoid any sort of implication?
> 
> On Tue, Aug 27, 2019 at 11:23 AM Robert Patterson < 
> rob...@robertgpatterson.com> wrote:
> 
>> FWIW (joking aside) my copy of Merriam Webster correctly identifies 
>> "missus" as dialect in one of the definitions, and I would rather 
>> avoid that implication.
>> 
>>> On Tue, Aug 27, 2019 at 11:12 AM Jon Delfin  wrote:
>>> 
>>> On Tue, Aug 27, 2019 at 12:08 PM timothy price <
>> timothy.pri...@icloud.com>
>>> wrote:
>>> 
>>>> Missus isn’t even a word. (What else could you expect from
>> composers?)
>>> 
>>> 
>>> Or Merriam Webster. What do *they* know about words?
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Re: [Finale] OT: Vocal Underlay of "Mrs.:

[timothy price]

Sometimes spellings errors are there to match the rhyming patterns.  AWALNATION 
does “Bad Wolf” with:   
“Oh my God I think I might’ve made a mustake 
Waiting patiently was waiting taking up space 
We are waiting taking up space.”

But all I got was “how do you notate “Mrs.”, a one syllable word, over two 
notes? Well simple, you don’t want to abbreviate the word.  The proper word for 
the intent and purpose is “Mis-sis”.
English language is quite well developed.

best
tim


> On Aug 27, 2019, at 12:47 PM, Don Hart  wrote:
> 
> Or, along the lines of my earlier idea: "Mrs." centered under the notes and
> "missus" or the dictionary spelling of the pronunciation in parentheses,
> right below.  Wouldn't that avoid any sort of implication?
> 
> On Tue, Aug 27, 2019 at 11:23 AM Robert Patterson <
> rob...@robertgpatterson.com> wrote:
> 
>> FWIW (joking aside) my copy of Merriam Webster correctly identifies
>> "missus" as dialect in one of the definitions, and I would rather avoid
>> that implication.
>> 
>>> On Tue, Aug 27, 2019 at 11:12 AM Jon Delfin  wrote:
>>> 
>>> On Tue, Aug 27, 2019 at 12:08 PM timothy price <
>> timothy.pri...@icloud.com>
>>> wrote:
>>> 
 Missus isn’t even a word. (What else could you expect from
>> composers?)
>>> 
>>> 
>>> Or Merriam Webster. What do *they* know about words?
>>> ___
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Re: [Finale] OT: Vocal Underlay of "Mrs.:

[Don Hart]

Or, along the lines of my earlier idea: "Mrs." centered under the notes and
"missus" or the dictionary spelling of the pronunciation in parentheses,
right below.  Wouldn't that avoid any sort of implication?

On Tue, Aug 27, 2019 at 11:23 AM Robert Patterson <
rob...@robertgpatterson.com> wrote:

> FWIW (joking aside) my copy of Merriam Webster correctly identifies
> "missus" as dialect in one of the definitions, and I would rather avoid
> that implication.
>
> On Tue, Aug 27, 2019 at 11:12 AM Jon Delfin  wrote:
>
> > On Tue, Aug 27, 2019 at 12:08 PM timothy price <
> timothy.pri...@icloud.com>
> > wrote:
> >
> > > Missus isn’t even a word. (What else could you expect from
> composers?)
> >
> >
> > Or Merriam Webster. What do *they* know about words?
> > ___
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Re: [Finale] OT: Vocal Underlay of "Mrs.:

[Robert Patterson]

FWIW (joking aside) my copy of Merriam Webster correctly identifies
"missus" as dialect in one of the definitions, and I would rather avoid
that implication.

On Tue, Aug 27, 2019 at 11:12 AM Jon Delfin  wrote:

> On Tue, Aug 27, 2019 at 12:08 PM timothy price 
> wrote:
>
> > Missus isn’t even a word. (What else could you expect from composers?)
>
>
> Or Merriam Webster. What do *they* know about words?
> ___
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Re: [Finale] OT: Vocal Underlay of "Mrs.:

[Jon Delfin]

On Tue, Aug 27, 2019 at 12:08 PM timothy price 
wrote:

> Missus isn’t even a word. (What else could you expect from composers?)


Or Merriam Webster. What do *they* know about words?
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Re: [Finale] OT: Vocal Underlay of "Mrs.:

[timothy price]

Missus isn’t even a word. (What else could you expect from composers?)

> On Aug 27, 2019, at 12:05 PM, Jon Delfin  wrote:
> 
> For what it's worth, the sheet music for "Mrs. Robinson" uses "Mis-sus."
> 
> On Tue, Aug 27, 2019 at 11:54 AM Robert Patterson <
> rob...@robertgpatterson.com> wrote:
> 
>> Jennifer, I like the way you think. And I'm gonna do "Mr." that way as
>> well. "Mister" looks very fussy and the abbreviated form balances with
>> "Mrs.:
>> 
>>> On Tue, Aug 27, 2019 at 10:16 AM Jennifer Higdon  wrote:
>>> 
>>> When I've had to do this for opera (which, if you're adhering to a
>>> libretto, sometimes you must follow exactly)...I've started setting this
>>> typed out as one word, under 2 notes, and letting the singer do the
>>> placing. It seems to be clearer for them.
>>> 
>>> 
>>> 
>>> -Original Message-
>>> From: Robert Patterson 
>>> To: finale 
>>> Sent: Tue, Aug 27, 2019 9:28 am
>>> Subject: [Finale] OT: Vocal Underlay of "Mrs.:
>>> 
>>> Has anyone ever had to divide "Mrs." into two syllables for vocal
>> underlay?
>>> Any suggestions?
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Re: [Finale] OT: Vocal Underlay of "Mrs.:

[Jon Delfin]

For what it's worth, the sheet music for "Mrs. Robinson" uses "Mis-sus."

On Tue, Aug 27, 2019 at 11:54 AM Robert Patterson <
rob...@robertgpatterson.com> wrote:

> Jennifer, I like the way you think. And I'm gonna do "Mr." that way as
> well. "Mister" looks very fussy and the abbreviated form balances with
> "Mrs.:
>
> On Tue, Aug 27, 2019 at 10:16 AM Jennifer Higdon  wrote:
>
> > When I've had to do this for opera (which, if you're adhering to a
> > libretto, sometimes you must follow exactly)...I've started setting this
> > typed out as one word, under 2 notes, and letting the singer do the
> > placing. It seems to be clearer for them.
> >
> >
> >
> > -Original Message-
> > From: Robert Patterson 
> > To: finale 
> > Sent: Tue, Aug 27, 2019 9:28 am
> > Subject: [Finale] OT: Vocal Underlay of "Mrs.:
> >
> > Has anyone ever had to divide "Mrs." into two syllables for vocal
> underlay?
> > Any suggestions?
> > ___
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Re: [Finale] OT: Vocal Underlay of "Mrs.:

[Robert Patterson]

Jennifer, I like the way you think. And I'm gonna do "Mr." that way as
well. "Mister" looks very fussy and the abbreviated form balances with
"Mrs.:

On Tue, Aug 27, 2019 at 10:16 AM Jennifer Higdon  wrote:

> When I've had to do this for opera (which, if you're adhering to a
> libretto, sometimes you must follow exactly)...I've started setting this
> typed out as one word, under 2 notes, and letting the singer do the
> placing. It seems to be clearer for them.
>
>
>
> -Original Message-
> From: Robert Patterson 
> To: finale 
> Sent: Tue, Aug 27, 2019 9:28 am
> Subject: [Finale] OT: Vocal Underlay of "Mrs.:
>
> Has anyone ever had to divide "Mrs." into two syllables for vocal underlay?
> Any suggestions?
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Re: [Finale] OT: Vocal Underlay of "Mrs.:

[Jennifer Higdon]

When I've had to do this for opera (which, if you're adhering to a libretto, 
sometimes you must follow exactly)...I've started setting this typed out as one 
word, under 2 notes, and letting the singer do the placing. It seems to be 
clearer for them.
 
 
 
-Original Message-
From: Robert Patterson 
To: finale 
Sent: Tue, Aug 27, 2019 9:28 am
Subject: [Finale] OT: Vocal Underlay of "Mrs.:

Has anyone ever had to divide "Mrs." into two syllables for vocal underlay?
Any suggestions?
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Re: [Finale] OT: Vocal Underlay of "Mrs.:

[Williams, Jim]

I’ve been asked (well, told) to use “mis-siz” and “mis-suz”...not saying either 
is wonderful, but that’s what some people have used.
Jim

James C. Williams
Professor Emeritus of Business
Franklin College
Euphonium Player around several towns

On Aug 27, 2019, at 10:59 AM, Dalvin Boone 
mailto:dalvin.boo...@frontier.com>> wrote:

How about "Ms-es?"  "Ms" is an common sub for Mrs. and most know to pronounce 
"Ms" "mizz."

Dalvin

-Original Message-
From: Finale mailto:finale-boun...@shsu.edu>> On 
Behalf Of Robert Patterson
Sent: Tuesday, August 27, 2019 9:54 AM
To: finale mailto:finale@shsu.edu>>
Subject: Re: [Finale] OT: Vocal Underlay of "Mrs.:

Technically, "Mrs." is the abbreviation of "Mistress", but no one says that any 
more. Hence, there is no generally accepted way to spell it out how we 
pronounce it.

On Tue, Aug 27, 2019 at 8:51 AM timothy price 
mailto:timothy.pri...@icloud.com>>
wrote:

Isn’t Mrs. the abbreviation of Missis?  Mis-sis.

On Aug 27, 2019, at 9:28 AM, Robert Patterson <
rob...@robertgpatterson.com<mailto:rob...@robertgpatterson.com>> wrote:

Has anyone ever had to divide "Mrs." into two syllables for vocal
underlay?
Any suggestions?
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Re: [Finale] OT: Vocal Underlay of "Mrs.:

[timothy price]

missis 
Also found in: Thesaurus, Wikipedia.
Related to missis: missus
missis
> wife; the mistress of a householdOn Aug 27, 2019, at 10:58 AM, Dalvin Boone 
>  wrote:
> 
> How about "Ms-es?"  "Ms" is an common sub for Mrs. and most know to pronounce 
> "Ms" "mizz."
> 
> Dalvin
> 
> -Original Message-
> From: Finale  On Behalf Of Robert Patterson
> Sent: Tuesday, August 27, 2019 9:54 AM
> To: finale 
> Subject: Re: [Finale] OT: Vocal Underlay of "Mrs.:
> 
> Technically, "Mrs." is the abbreviation of "Mistress", but no one says that 
> any more. Hence, there is no generally accepted way to spell it out how we 
> pronounce it.
> 
> On Tue, Aug 27, 2019 at 8:51 AM timothy price 
> wrote:
> 
>> Isn’t Mrs. the abbreviation of Missis?  Mis-sis.
>> 
>>> On Aug 27, 2019, at 9:28 AM, Robert Patterson <
>> rob...@robertgpatterson.com> wrote:
>>> 
>>> Has anyone ever had to divide "Mrs." into two syllables for vocal
>> underlay?
>>> Any suggestions?
>>> ___
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>>> https://lists.shsu.edu/mailman/listinfo/finale
>>> 
>>> To unsubscribe from finale send a message to:
>>> finale-unsubscr...@shsu.edu
>> 
>> 
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Re: [Finale] OT: Vocal Underlay of "Mrs.:

[Dalvin Boone]

How about "Ms-es?"  "Ms" is an common sub for Mrs. and most know to pronounce 
"Ms" "mizz."

Dalvin

-Original Message-
From: Finale  On Behalf Of Robert Patterson
Sent: Tuesday, August 27, 2019 9:54 AM
To: finale 
Subject: Re: [Finale] OT: Vocal Underlay of "Mrs.:

Technically, "Mrs." is the abbreviation of "Mistress", but no one says that any 
more. Hence, there is no generally accepted way to spell it out how we 
pronounce it.

On Tue, Aug 27, 2019 at 8:51 AM timothy price 
wrote:

> Isn’t Mrs. the abbreviation of Missis?  Mis-sis.
>
> > On Aug 27, 2019, at 9:28 AM, Robert Patterson <
> rob...@robertgpatterson.com> wrote:
> >
> > Has anyone ever had to divide "Mrs." into two syllables for vocal
> underlay?
> > Any suggestions?
> > ___
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> > https://lists.shsu.edu/mailman/listinfo/finale
> >
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Re: [Finale] OT: Vocal Underlay of "Mrs.:

[Jon Delfin]

Merriam Webster says "mis-sus."

On Tue, Aug 27, 2019 at 9:50 AM timothy price 
wrote:

> Isn’t Mrs. the abbreviation of Missis?  Mis-sis.
>
> > On Aug 27, 2019, at 9:28 AM, Robert Patterson <
> rob...@robertgpatterson.com> wrote:
> >
> > Has anyone ever had to divide "Mrs." into two syllables for vocal
> underlay?
> > Any suggestions?
> > ___
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> > https://lists.shsu.edu/mailman/listinfo/finale
> >
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Re: [Finale] OT: Vocal Underlay of "Mrs.:

[Robert Patterson]

Technically, "Mrs." is the abbreviation of "Mistress", but no one says that
any more. Hence, there is no generally accepted way to spell it out how we
pronounce it.

On Tue, Aug 27, 2019 at 8:51 AM timothy price 
wrote:

> Isn’t Mrs. the abbreviation of Missis?  Mis-sis.
>
> > On Aug 27, 2019, at 9:28 AM, Robert Patterson <
> rob...@robertgpatterson.com> wrote:
> >
> > Has anyone ever had to divide "Mrs." into two syllables for vocal
> underlay?
> > Any suggestions?
> > ___
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> > Finale@shsu.edu
> > https://lists.shsu.edu/mailman/listinfo/finale
> >
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>
>
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Re: [Finale] OT: Vocal Underlay of "Mrs.:

[timothy price]

Isn’t Mrs. the abbreviation of Missis?  Mis-sis.

> On Aug 27, 2019, at 9:28 AM, Robert Patterson  
> wrote:
> 
> Has anyone ever had to divide "Mrs." into two syllables for vocal underlay?
> Any suggestions?
> ___
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Re: [Finale] OT: Vocal Underlay of "Mrs.:

[Don Hart]

I'd probably spell out phonetically and maybe put Mrs. in parentheses
somewhere to clarify.

On Tue, Aug 27, 2019 at 8:31 AM GERALD BERG  wrote:

> Perhaps Mrs-ses?
> GJB
>
> On Tuesday, August 27, 2019, 9:28:45 AM EDT, Robert Patterson <
> rob...@robertgpatterson.com> wrote:
>
>  Has anyone ever had to divide "Mrs." into two syllables for vocal
> underlay?
> Any suggestions?
> ___
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Re: [Finale] OT: Vocal Underlay of "Mrs.:

[David H. Bailey]

On 8/27/2019 9:28 AM, Robert Patterson wrote:

Has anyone ever had to divide "Mrs." into two syllables for vocal underlay?
Any suggestions?



I've seen it "miss-us"


--
*
David H. Bailey
dhbaile...@comcast.net
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Re: [Finale] OT: pop orchestration

[Chuck Israels]

Thank you, Doug.

One advantage of the book — something over which I had little control, is that 
Gary Garritan (who insisted I write it in the first place), created an 
accompanying CD that scrolls each score and plays the music with tweaked 
Garritan sounds — somewhat more realistic sounds than what comes raw out of 
Finale playback. (Andy Homzy calls that “a little kazoo band.”) That playback 
is helpful to me, even with its limitations. That said, nothing helps like 
hearing what you write played by good musicians. I’m constantly learning.

Chuck

> On Jun 2, 2019, at 11:49 AM, Doug Walter  wrote:
> 
> You’ll probably get a lot of good answers; here are a few great examples I 
> can vouch for from personal experience:
> 
> Don Sebesky - “The Contemporary Arranger”
> 
> Rayburn Wright - “Inside the Score: A Detailed Analysis of 8 Classic Jazz 
> Ensemble Charts by Sammy Nestico, Thad Jones, and Bob Brookmeyer”
> 
> Sammy Nestico - “The Complete Arranger”
> 
> In case “our” Chuck Israels doesn’t plug his own excellent book, I will - 
> “Exploring Jazz Arranging: An Interactive Guide to the Techniques and 
> Aesthetics”
> 
> There are of course many more, but these are all comprehensive and 
> outstanding.
> 
> Doug
> 
>> On Jun 2, 2019, at 10:49 AM, Greg Scheer  wrote:
>> 
>> I turn to this list often for Finale therapy; this time I’d like to pick 
>> your brains about the music itself.
>> 
>> I’m on a lifelong quest to become a better orchestrator. For classical 
>> orchestration the path is fairly clear, with a host of orchestration books 
>> and scores/recordings available for study. In the world of pop, jazz, and 
>> rock orchestration the path is less traveled. There are many examples—The 
>> Beatles, Chet Baker & Strings, Sufjan Stevens, etc—but to my knowledge no 
>> source for score study and only a handful of jazz/pop orchestration 
>> treatises.
>> 
>> I know many of you are fine orchestrators in a variety of idioms or engrave 
>> music for exceptional arrangers. I would love any leads you can provide: 
>> stellar examples of orchestrated pop/jazz/rock, sources for scores, books 
>> you’ve found valuable, websites of particular arrangers, or general pearls 
>> of wisdom.
>> 
>> If you’re interested in hearing some of what I’ve composed, take a listen to 
>> the St. Sinner Orchestra, which is a hybrid of band and string orchestra: 
>> https://stsinnerorchestra.bandcamp.com/releases 
>> 
>> 
>> Thanks so much for entertaining my rabbit trail!
>> 
>> Peace,
>> 
>> Greg
>> 
>> =
>> What is it you plan to do with your one wild and precious life? —Mary Oliver
>> -
>> Greg Scheer
>> g...@gregscheer.com
>> 
>> 
>> 
>> 
>> 
>> 
>> ___
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Chuck Israels
cisra...@comcast.net
(360) 201-3434

8831 SE 12th Ave.
Portland OR 97202



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Re: [Finale] OT: pop orchestration

[David H. Bailey]

On 6/2/2019 1:49 PM, Greg Scheer wrote:

I turn to this list often for Finale therapy; this time I’d like to pick your 
brains about the music itself.

I’m on a lifelong quest to become a better orchestrator. For classical orchestration the path is fairly clear, with a host of orchestration books and scores/recordings available for study. In the world of pop, jazz, and rock orchestration the path is less traveled. There are many examples—The Beatles, 


There is a book of Beatles music called "Beatles The Complete Scores." 
It's not a treatise that says "how to" but it includes all the string 
and synthesizer and brass parts that were added to the Beatles songs, 
mainly by George Martin, so you can see how it all worked together. 
It's pricey, and the printing is small, but it's a gold-mine of information.



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*
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Re: [Finale] OT: pop orchestration

[martin nickless]

hi there I have a problem with Finale 25 I use PC  all of my changes /
chords have disappeared I see them in the chord dialog box but I am unable
to enter any chords just getting small mf of very small cleffs
could somebody help
thanks
Martin

On Sun, Jun 2, 2019 at 7:49 PM Doug Walter  wrote:

> You’ll probably get a lot of good answers; here are a few great examples I
> can vouch for from personal experience:
>
> Don Sebesky - “The Contemporary Arranger”
>
> Rayburn Wright - “Inside the Score: A Detailed Analysis of 8 Classic Jazz
> Ensemble Charts by Sammy Nestico, Thad Jones, and Bob Brookmeyer”
>
> Sammy Nestico - “The Complete Arranger”
>
> In case “our” Chuck Israels doesn’t plug his own excellent book, I will -
> “Exploring Jazz Arranging: An Interactive Guide to the Techniques and
> Aesthetics”
>
> There are of course many more, but these are all comprehensive and
> outstanding.
>
> Doug
>
> > On Jun 2, 2019, at 10:49 AM, Greg Scheer  wrote:
> >
> > I turn to this list often for Finale therapy; this time I’d like to pick
> your brains about the music itself.
> >
> > I’m on a lifelong quest to become a better orchestrator. For classical
> orchestration the path is fairly clear, with a host of orchestration books
> and scores/recordings available for study. In the world of pop, jazz, and
> rock orchestration the path is less traveled. There are many examples—The
> Beatles, Chet Baker & Strings, Sufjan Stevens, etc—but to my knowledge no
> source for score study and only a handful of jazz/pop orchestration
> treatises.
> >
> > I know many of you are fine orchestrators in a variety of idioms or
> engrave music for exceptional arrangers. I would love any leads you can
> provide: stellar examples of orchestrated pop/jazz/rock, sources for
> scores, books you’ve found valuable, websites of particular arrangers, or
> general pearls of wisdom.
> >
> > If you’re interested in hearing some of what I’ve composed, take a
> listen to the St. Sinner Orchestra, which is a hybrid of band and string
> orchestra: https://stsinnerorchestra.bandcamp.com/releases <
> https://stsinnerorchestra.bandcamp.com/releases>
> >
> > Thanks so much for entertaining my rabbit trail!
> >
> > Peace,
> >
> > Greg
> >
> > =
> > What is it you plan to do with your one wild and precious life? —Mary
> Oliver
> > -
> > Greg Scheer
> > g...@gregscheer.com
> >
> >
> >
> >
> >
> >
> > ___
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> >
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Re: [Finale] OT: pop orchestration

[Doug Walter]

You’ll probably get a lot of good answers; here are a few great examples I can 
vouch for from personal experience:

Don Sebesky - “The Contemporary Arranger”

Rayburn Wright - “Inside the Score: A Detailed Analysis of 8 Classic Jazz 
Ensemble Charts by Sammy Nestico, Thad Jones, and Bob Brookmeyer”

Sammy Nestico - “The Complete Arranger”

In case “our” Chuck Israels doesn’t plug his own excellent book, I will - 
“Exploring Jazz Arranging: An Interactive Guide to the Techniques and 
Aesthetics”

There are of course many more, but these are all comprehensive and outstanding.

Doug

> On Jun 2, 2019, at 10:49 AM, Greg Scheer  wrote:
> 
> I turn to this list often for Finale therapy; this time I’d like to pick your 
> brains about the music itself.
> 
> I’m on a lifelong quest to become a better orchestrator. For classical 
> orchestration the path is fairly clear, with a host of orchestration books 
> and scores/recordings available for study. In the world of pop, jazz, and 
> rock orchestration the path is less traveled. There are many examples—The 
> Beatles, Chet Baker & Strings, Sufjan Stevens, etc—but to my knowledge no 
> source for score study and only a handful of jazz/pop orchestration treatises.
> 
> I know many of you are fine orchestrators in a variety of idioms or engrave 
> music for exceptional arrangers. I would love any leads you can provide: 
> stellar examples of orchestrated pop/jazz/rock, sources for scores, books 
> you’ve found valuable, websites of particular arrangers, or general pearls of 
> wisdom.
> 
> If you’re interested in hearing some of what I’ve composed, take a listen to 
> the St. Sinner Orchestra, which is a hybrid of band and string orchestra: 
> https://stsinnerorchestra.bandcamp.com/releases 
> 
> 
> Thanks so much for entertaining my rabbit trail!
> 
> Peace,
> 
> Greg
> 
> =
> What is it you plan to do with your one wild and precious life? —Mary Oliver
> -
> Greg Scheer
> g...@gregscheer.com
> 
> 
> 
> 
> 
> 
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> 
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Re: [Finale] OT: pop orchestration

[GERALD BERG]

https://www.amazon.com/Jazz-Composition-Orchestration-William-Russo/dp/0226732088/ref=dp_ob_title_bk

was one I always liked...
GJB 

On Sunday, June 2, 2019, 1:50:07 PM EDT, Greg Scheer  
wrote:  
 
 I turn to this list often for Finale therapy; this time I’d like to pick your 
brains about the music itself.

I’m on a lifelong quest to become a better orchestrator. For classical 
orchestration the path is fairly clear, with a host of orchestration books and 
scores/recordings available for study. In the world of pop, jazz, and rock 
orchestration the path is less traveled. There are many examples—The Beatles, 
Chet Baker & Strings, Sufjan Stevens, etc—but to my knowledge no source for 
score study and only a handful of jazz/pop orchestration treatises.

I know many of you are fine orchestrators in a variety of idioms or engrave 
music for exceptional arrangers. I would love any leads you can provide: 
stellar examples of orchestrated pop/jazz/rock, sources for scores, books 
you’ve found valuable, websites of particular arrangers, or general pearls of 
wisdom.

If you’re interested in hearing some of what I’ve composed, take a listen to 
the St. Sinner Orchestra, which is a hybrid of band and string orchestra: 
https://stsinnerorchestra.bandcamp.com/releases 


Thanks so much for entertaining my rabbit trail!

Peace,

Greg

=
What is it you plan to do with your one wild and precious life? —Mary Oliver
-
Greg Scheer
g...@gregscheer.com






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Re: [Finale] [OT] voice part only

[SN jef chippewa]

i find really very little of what clients ask me 
to be unusual ;-) and providing what they request 
is my usual approach.


but in any case, it turns out the other musicians 
are transposing on sight and only the singer 
wanted a transposed part to perform from.


jef

At 11:10 AM +0200 5/7/19, Giovanni Andreani wrote:
It is quite an unusual request, to my 
experience. I would contact the client for 
further details if not I¹d provide the single 
vocal score, as requested, plus the piano-vocal 
part.


--

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Re: [Finale] [OT] voice part only

[Giovanni Andreani]

It is quite an unusual request, to my experience. I would contact the client 
for further details if not I’d provide the single vocal score, as requested, 
plus the piano-vocal part.

Giovanni


Giovanni Andreani

www.giovanniandreani.com
www.ga-music.com


> On 5 May 2019, at 11:59, SN jef chippewa  
> wrote:
> 
> 
> i only rarely encounter voice in the ensemble scores i do, so any advice 
> would be appreciated.
> 
> i've been asked to create the vocal part (no other parts) for a late-18th 
> century french song for voice, violin, cello and piano. just wanted to make 
> sure that nothing aside from a couple of cues would be needed and the part 
> only requires the vocal line.  or is it standard to make voice parts as a 
> piano-vocal part (perhaps for rehearsal purposes)?
> 
> the job is for a professional ensemble that could probably sightread the 
> score.
> 
> thanks,
> jef
> 
> -- 
> 
> neueweise -- fonts for new music (and traditional) notation
> http://newmusicnotation.com/fonts.html
> 
> shirling & neueweise  |  http://newmusicnotation.com
> new music notation  +  arts management  +  translation
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Re: [Finale] [OT] voice part only

[Paolo Alberto Rismondo]

Hi,

nice question.

paolo A. Rismondo

Il 06/05/2019 02:53, Dalvin Boone ha scritto:

Sorry to waste your time, but I have to ask:  why does a singer need a
transposed part?

Dlavin Boone

-Original Message-
From: Finale  On Behalf Of SN jef chippewa
Sent: Sunday, May 05, 2019 6:18 PM
To: finale@shsu.edu
Subject: Re: [Finale] [OT] voice part only


raymond, it is for voice (singular) and the part needs to be transposed down
a major second.  yeah i have cues for the entry and at the end of the longer
multi-measure rests.

cheers,
jef


I don¹t know what a transposed score for voices would be, unless they
are talking about the Tenor part written an octave higher than
sounding, but I will say that you do not need to Do a piano reduction
for choir, really anytime in a larger ensemble. Just give them some
cues To help them get their pitch, and you are good to go!

Raymond Horton
Composer/Arranger
Minister of Music,
Edwardsville (IN) United Methodist Church Retired Bass Trombonist,
Louisville Orchestra, 1970-2016


  On May 5, 2019, at 11:49 AM, SN jef chippewa
 wrote:


  yeah they explicitly said they don't need the score, only a
transposed part (i don't know where the transposed score is or if
there in fact is one), and there is a fixed (small) budget that is
just too small for me to do the entire score even if i wanted to.

  thanks!



  In my experience, the singer reads from score, with the proviso
that the vocal line is immediately above the piano line and that the
other instruments on are reduced-size staves above the vocal line.
(See, for example, the score of Pierrot Lunaire
  
<https://imslp.org/wiki/Pierrot_Lunaire,_Op.21_(Schoenberg,_Arnold)>.

)


  >> The other option would be to provide a piano/vocal score with a
piano reduction of all the instrumental parts. But that may be more
trouble than you need for this particular project.


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Re: [Finale] [OT] voice part only

[Jeffrey Quick]

On 5/5/19 8:53 PM, Dalvin Boone wrote:

Sorry to waste your time, but I have to ask:  why does a singer need a
transposed part?
Even if one doesn't have perfect pitch, one tends to set the vocal 
apparatus for the pitches seen instead of the pitches to be produced. If 
I have to sing notation at a different pitch, particularly if it's more 
than a 2nd off, I'll do funny mental things with clefs to remind myself 
where I am. It's hard enough to make music without fighting the 
notation, which is why we do what we do.


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Re: [Finale] [OT] voice part only

[David H. Bailey]

On 5/5/2019 8:53 PM, Dalvin Boone wrote:

Sorry to waste your time, but I have to ask:  why does a singer need a
transposed part?


[snip]

It's common for singers to need a piece transposed to suit their 
particular vocal strengths.  Often it's done on the spot, if the 
accompanying musicians are competent enough, without the singer needing 
transposed music.


Other times the composer may feel a piece works better in a different 
key and wants the vocalist to have printed music with the correct 
pitches for the changed key.



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Re: [Finale] [OT] voice part only

[SN jef chippewa]

not a waste at all.  but i don't know, didn't ask and don't really 
need to know.  they asked me to transpose it in exchange for some 
eurobucks and are a highly skilled 35-yr old ensemble so i will 
assume they know what they're doing and take them up on their offer :P



At 8:53 PM -0400 5/5/19, Dalvin Boone wrote:
Sorry to waste your time, but I have to ask:  why does a singer need 
a transposed part?


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Re: [Finale] [OT] voice part only

[Ryszard Pusz]

Maybe if their bowtie is too tight it acts like a capo?? Then the transposed 
notes would match the sounds they make….


> On 6 May 2019, at 7:48 AM, SN jef chippewa  
> wrote:
> 
> 
> raymond, it is for voice (singular) and the part needs to be transposed down 
> a major second.  yeah i have cues for the entry and at the end of the longer 
> multi-measure rests.
> 
> cheers,
> jef
> 
>> I don¹t know what a transposed score for voices would be, unless they are 
>> talking about the Tenor part written an octave higher than sounding, but I 
>> will say that you do not need to Do a piano reduction for choir, really 
>> anytime in a larger ensemble. Just give them some cues To help them get 
>> their pitch, and you are good to go!
>> 
>> Raymond Horton
>> Composer/Arranger
>> Minister of Music,
>> Edwardsville (IN) United Methodist Church
>> Retired Bass Trombonist,
>> Louisville Orchestra, 1970-2016
>> 
>>> On May 5, 2019, at 11:49 AM, SN jef chippewa 
>>>  wrote:
>>> 
>>> 
>>> yeah they explicitly said they don't need the score, only a transposed part 
>>> (i don't know where the transposed score is or if there in fact is one), 
>>> and there is a fixed (small) budget that is just too small for me to do the 
>>> entire score even if i wanted to.
>>> 
>>> thanks!
>>> 
>>> 
 In my experience, the singer reads from score, with the proviso that the 
 vocal line is immediately above the piano line and that the other 
 instruments on are reduced-size staves above the vocal line. (See, for 
 example, the score of Pierrot Lunaire
 .)
 
>> >> The other option would be to provide a piano/vocal score with a piano 
>> >> reduction of all the instrumental parts. But that may be more trouble 
>> >> than you need for this particular project.
> 
> -- 
> 
> neueweise -- fonts for new music (and traditional) notation
> http://newmusicnotation.com/fonts.html
> 
> shirling & neueweise  |  http://newmusicnotation.com
> new music notation  +  arts management  +  translation
> [FB] http://facebook.com/neueweise  |  [TW] http://twitter.com/neueweise
> 
> 
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Re: [Finale] [OT] voice part only

[Dalvin Boone]

Sorry to waste your time, but I have to ask:  why does a singer need a
transposed part?

Dlavin Boone

-Original Message-
From: Finale  On Behalf Of SN jef chippewa
Sent: Sunday, May 05, 2019 6:18 PM
To: finale@shsu.edu
Subject: Re: [Finale] [OT] voice part only


raymond, it is for voice (singular) and the part needs to be transposed down
a major second.  yeah i have cues for the entry and at the end of the longer
multi-measure rests.

cheers,
jef

>I don¹t know what a transposed score for voices would be, unless they 
>are talking about the Tenor part written an octave higher than 
>sounding, but I will say that you do not need to Do a piano reduction 
>for choir, really anytime in a larger ensemble. Just give them some 
>cues To help them get their pitch, and you are good to go!
>
>Raymond Horton
>Composer/Arranger
>Minister of Music,
>Edwardsville (IN) United Methodist Church Retired Bass Trombonist, 
>Louisville Orchestra, 1970-2016
>
>>  On May 5, 2019, at 11:49 AM, SN jef chippewa 
>> wrote:
>>
>>
>>  yeah they explicitly said they don't need the score, only a 
>>transposed part (i don't know where the transposed score is or if 
>>there in fact is one), and there is a fixed (small) budget that is 
>>just too small for me to do the entire score even if i wanted to.
>>
>>  thanks!
>>
>>
>>>  In my experience, the singer reads from score, with the proviso 
>>>that the vocal line is immediately above the piano line and that the 
>>>other instruments on are reduced-size staves above the vocal line. 
>>>(See, for example, the score of Pierrot Lunaire
>>>  
>>><https://imslp.org/wiki/Pierrot_Lunaire,_Op.21_(Schoenberg,_Arnold)>.
>>>)
>>>
>  >> The other option would be to provide a piano/vocal score with a 
>piano reduction of all the instrumental parts. But that may be more 
>trouble than you need for this particular project.

-- 

neueweise -- fonts for new music (and traditional) notation
http://newmusicnotation.com/fonts.html

shirling & neueweise  |  http://newmusicnotation.com
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Re: [Finale] [OT] voice part only

[SN jef chippewa]

raymond, it is for voice (singular) and the part 
needs to be transposed down a major second.  yeah 
i have cues for the entry and at the end of the 
longer multi-measure rests.


cheers,
jef

I don¹t know what a transposed score for voices 
would be, unless they are talking about the 
Tenor part written an octave higher than 
sounding, but I will say that you do not need to 
Do a piano reduction for choir, really anytime 
in a larger ensemble. Just give them some cues 
To help them get their pitch, and you are good 
to go!


Raymond Horton
Composer/Arranger
Minister of Music,
Edwardsville (IN) United Methodist Church
Retired Bass Trombonist,
Louisville Orchestra, 1970-2016

 On May 5, 2019, at 11:49 AM, SN jef chippewa 
 wrote:



 yeah they explicitly said they don't need the 
score, only a transposed part (i don't know 
where the transposed score is or if there in 
fact is one), and there is a fixed (small) 
budget that is just too small for me to do the 
entire score even if i wanted to.


 thanks!


 In my experience, the singer reads from 
score, with the proviso that the vocal line is 
immediately above the piano line and that the 
other instruments on are reduced-size staves 
above the vocal line. (See, for example, the 
score of Pierrot Lunaire

 .)

 >> The other option would be to provide a 
piano/vocal score with a piano reduction of all 
the instrumental parts. But that may be more 
trouble than you need for this particular 
project.


--

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http://newmusicnotation.com/fonts.html

shirling & neueweise  |  http://newmusicnotation.com
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[FB] http://facebook.com/neueweise  |  [TW] http://twitter.com/neueweise


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Re: [Finale] [OT] voice part only

[Raymond Horton]

I don’t know what a transposed score for voices would be, unless they are 
talking about the Tenor part written an octave higher than sounding, but I will 
say that you do not need to Do a piano reduction for choir, really anytime in a 
larger ensemble. Just give them some cues To help them get their pitch, and you 
are good to go!

Raymond Horton
Composer/Arranger 
Minister of Music, 
Edwardsville (IN) United Methodist Church
Retired Bass Trombonist,
Louisville Orchestra, 1970-2016

> On May 5, 2019, at 11:49 AM, SN jef chippewa  
> wrote:
> 
> 
> yeah they explicitly said they don't need the score, only a transposed part 
> (i don't know where the transposed score is or if there in fact is one), and 
> there is a fixed (small) budget that is just too small for me to do the 
> entire score even if i wanted to.
> 
> thanks!
> 
> 
>> In my experience, the singer reads from score, with the proviso that the 
>> vocal line is immediately above the piano line and that the other 
>> instruments on are reduced-size staves above the vocal line. (See, for 
>> example, the score of Pierrot Lunaire
>> .)
>> 
>> The other option would be to provide a piano/vocal score with a piano 
>> reduction of all the instrumental parts. But that may be more trouble than 
>> you need for this particular project.
> 
> -- 
> 
> neueweise -- fonts for new music (and traditional) notation
> http://newmusicnotation.com/fonts.html
> 
> shirling & neueweise  |  http://newmusicnotation.com
> new music notation  +  arts management  +  translation
> [FB] http://facebook.com/neueweise  |  [TW] http://twitter.com/neueweise
> 
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Re: [Finale] [OT] voice part only

[SN jef chippewa]

yeah they explicitly said they don't need the score, only a 
transposed part (i don't know where the transposed score is or if 
there in fact is one), and there is a fixed (small) budget that is 
just too small for me to do the entire score even if i wanted to.


thanks!


In my experience, the singer reads from score, with the proviso that 
the vocal line is immediately above the piano line and that the 
other instruments on are reduced-size staves above the vocal line. 
(See, for example, the score of Pierrot Lunaire

.)

The other option would be to provide a piano/vocal score with a 
piano reduction of all the instrumental parts. But that may be more 
trouble than you need for this particular project.


--

neueweise -- fonts for new music (and traditional) notation
http://newmusicnotation.com/fonts.html

shirling & neueweise  |  http://newmusicnotation.com
new music notation  +  arts management  +  translation
[FB] http://facebook.com/neueweise  |  [TW] http://twitter.com/neueweise

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Re: [Finale] [OT] voice part only

[Robert Patterson]

In my experience, the singer reads from score, with the proviso that the
vocal line is immediately above the piano line and that the other
instruments on are reduced-size staves above the vocal line. (See, for
example, the score of Pierrot Lunaire
.)

The other option would be to provide a piano/vocal score with a piano
reduction of all the instrumental parts. But that may be more trouble than
you need for this particular project.

On Sun, May 5, 2019 at 5:00 AM SN jef chippewa <
shirl...@newmusicnotation.com> wrote:

>
> i only rarely encounter voice in the ensemble scores i do, so any
> advice would be appreciated.
>
> i've been asked to create the vocal part (no other parts) for a
> late-18th century french song for voice, violin, cello and piano.
> just wanted to make sure that nothing aside from a couple of cues
> would be needed and the part only requires the vocal line.  or is it
> standard to make voice parts as a piano-vocal part (perhaps for
> rehearsal purposes)?
>
> the job is for a professional ensemble that could probably sightread the
> score.
>
> thanks,
> jef
>
> --
>
> neueweise -- fonts for new music (and traditional) notation
> http://newmusicnotation.com/fonts.html
>
> shirling & neueweise  |  http://newmusicnotation.com
> new music notation  +  arts management  +  translation
> [FB] http://facebook.com/neueweise  |  [TW] http://twitter.com/neueweise
>
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Re: [Finale] OT: Katherine Hoover (1937-2018)

[David H. Bailey]

Thank you for letting us know.  Another sad day for music.

David H. Bailey

On 9/25/2018 3:15 PM, Robert Patterson wrote:

Hello List,

The composer Katherine Hoover was a long-time lurker on this list and
occasionally posted. She passed a way a few days ago. For anyone who's
interested, here is an obituary

.
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--
*
David H. Bailey
dhbaile...@comcast.net
http://www.davidbaileymusicstudio.com
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Re: [Finale] OT Sibelius list

[SN jef chippewa]

make sure you weren't subbed with 2 separate 
addresses (one of which is no longer subbed) - i 
see this regularly with people who use both a 
personal and academic address, or set up a 
separate "lists" email address.



At 5:08 PM +0200 8/4/18, Lawrence wrote:
Does anybody know how to get off the Sibelius 
list?  I¹ve unsubscribed and it won¹t let me 
post anything but I still keep getting the 
posts. When I try to reply to them it tells me 
I¹m unsubscribed.


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Re: [Finale] OT Sibelius list

[David H. Bailey]

On 8/4/2018 11:08 AM, Lawrence wrote:

Hi

Does anybody know how to get off the Sibelius list?  I’ve unsubscribed and it 
won’t let me post anything but I still keep getting the posts. When I try to 
reply to them it tells me I’m unsubscribed.



I don't know how to get off it completely, but if you log into 
yahoogroups and then go to your group settings, you can set the option 
to receive no emails from the Sibelius group.



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*
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Re: [Finale] OT: score order for a chamber group

[Michael Meyer]

Thanks very much to everyone for their responses! I appreciate it.

— Mike Meyer


On June 11, 2018 at 3:17:01 PM, Michael Meyer (mlmli...@gmail.com) wrote:

Hoping for the (not-necessarily-Finale) knowledge of the list!

A student of mine wrote their end-of-year composition project for my Music
Theory class for soprano accompanied by clarinet, violin, bass clarinet,
and cello.

For a chamber group, what order would you put the instruments in? It seems
weird to put them in strict orchestral order (which would put the soprano
in the middle, and I would think she should be at the top).

Happy to hear opinions! Thanks!

— Mike
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Re: [Finale] OT: score order for a chamber group

[Steve Parker]

Sop, clar, bass clar, violin, cello for me too, no question.

Steve P.

> On 11 Jun 2018, at 20:32, j...@thomastudios.com wrote:
> 
> Forgot bass clarinet, I’d put it under the clarinet.
> 
> ***
> J D Thomas
> ThomaStudios
> 
> 
> 
>> On Jun 11, 2018, at 12:28 PM, Michael Edwards  
>> wrote:
>> 
>> [Michael Meyer:]
>> 
>>> A student of mine wrote their end-of-year composition project for my Music
>>> Theory class for soprano accompanied by clarinet, violin, bass clarinet,
>>> and cello.
>>> 
>>> For a chamber group, what order would you put the instruments in? It seems
>>> weird to put them in strict orchestral order (which would put the soprano
>>> in the middle, and I would think she should be at the top).
>>> 
>>> Happy to hear opinions! Thanks!
>> 
>>I think I would put the soprano at the top, but the rest in normal 
>> orchestral order.
>>I have an idea that chamber music does usually follow orchestral order, 
>> with a few exceptions - such as piano (when present) at the bottom, or a 
>> solo singer at the top.
>>If I recall correctly, Schubert's Octet has the score arranged in the 
>> order: Clarinet; Horn; Bassoon; Violin 1; Violin 2; Viola; Cello; 
>> Double-Bass.  (The Horn is another exception to orchestral practice - put 
>> above the Bassoon, in average order of descending pitch, so classifying all 
>> the wind together.)
>>Beethoven's Septet (with almost the same instrumentation) does similarly 
>> in copies of that score I've seen.
>>So I would feel safe in doing what I just listed above.
>>Hope that helps a little.
>> 
>> Michael Edwards.
>> 
>> 
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Re: [Finale] OT: score order for a chamber group

[j...@thomastudios.com]

Forgot bass clarinet, I’d put it under the clarinet.

***
J D Thomas
ThomaStudios



> On Jun 11, 2018, at 12:28 PM, Michael Edwards  wrote:
> 
> [Michael Meyer:]
> 
>> A student of mine wrote their end-of-year composition project for my Music
>> Theory class for soprano accompanied by clarinet, violin, bass clarinet,
>> and cello.
>> 
>> For a chamber group, what order would you put the instruments in? It seems
>> weird to put them in strict orchestral order (which would put the soprano
>> in the middle, and I would think she should be at the top).
>> 
>> Happy to hear opinions! Thanks!
> 
> I think I would put the soprano at the top, but the rest in normal 
> orchestral order.
> I have an idea that chamber music does usually follow orchestral order, 
> with a few exceptions - such as piano (when present) at the bottom, or a solo 
> singer at the top.
> If I recall correctly, Schubert's Octet has the score arranged in the 
> order: Clarinet; Horn; Bassoon; Violin 1; Violin 2; Viola; Cello; 
> Double-Bass.  (The Horn is another exception to orchestral practice - put 
> above the Bassoon, in average order of descending pitch, so classifying all 
> the wind together.)
> Beethoven's Septet (with almost the same instrumentation) does similarly 
> in copies of that score I've seen.
> So I would feel safe in doing what I just listed above.
> Hope that helps a little.
> 
> Michael Edwards.
> 
> 
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Re: [Finale] OT: score order for a chamber group

[Michael Edwards]

[Michael Meyer:]

A student of mine wrote their end-of-year composition project for my 
Music
Theory class for soprano accompanied by clarinet, violin, bass 
clarinet,

and cello.

For a chamber group, what order would you put the instruments in? It 
seems
weird to put them in strict orchestral order (which would put the 
soprano

in the middle, and I would think she should be at the top).

Happy to hear opinions! Thanks!


 I think I would put the soprano at the top, but the rest in normal 
orchestral order.
 I have an idea that chamber music does usually follow orchestral 
order, with a few exceptions - such as piano (when present) at the 
bottom, or a solo singer at the top.
 If I recall correctly, Schubert's Octet has the score arranged in 
the order: Clarinet; Horn; Bassoon; Violin 1; Violin 2; Viola; Cello; 
Double-Bass.  (The Horn is another exception to orchestral practice - 
put above the Bassoon, in average order of descending pitch, so 
classifying all the wind together.)
 Beethoven's Septet (with almost the same instrumentation) does 
similarly in copies of that score I've seen.

 So I would feel safe in doing what I just listed above.
 Hope that helps a little.

Michael Edwards.


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Re: [Finale] OT: score order for a chamber group

[j...@thomastudios.com]

My preference for that instrumentation would be:  Soprano, clarinet, violin, & 
cello.  Orchestra order be damned!

***
J D Thomas
ThomaStudios



> On Jun 11, 2018, at 12:17 PM, Michael Meyer  wrote:
> 
> Hoping for the (not-necessarily-Finale) knowledge of the list!
> 
> A student of mine wrote their end-of-year composition project for my Music
> Theory class for soprano accompanied by clarinet, violin, bass clarinet,
> and cello.
> 
> For a chamber group, what order would you put the instruments in? It seems
> weird to put them in strict orchestral order (which would put the soprano
> in the middle, and I would think she should be at the top).
> 
> Happy to hear opinions! Thanks!
> 
> — Mike
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Re: [Finale] OT: score order for a chamber group

[Christopher Smith]

Chamber music is most usually ordered high to low, with solo instrument or 
voice at the top, and piano at the bottom. So for this consort I would put it 
almost exactly as you wrote it (violin above clarinet, though):

voice
violin
clarinet
bass clarinet
cello

Christopher

> On Mon Jun 11, at MondayJun 11 3:17 PM, Michael Meyer  
> wrote:
> 
> Hoping for the (not-necessarily-Finale) knowledge of the list!
> 
> A student of mine wrote their end-of-year composition project for my Music
> Theory class for soprano accompanied by clarinet, violin, bass clarinet,
> and cello.
> 
> For a chamber group, what order would you put the instruments in? It seems
> weird to put them in strict orchestral order (which would put the soprano
> in the middle, and I would think she should be at the top).
> 
> Happy to hear opinions! Thanks!
> 
> — Mike
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Re: [Finale] [OT] article: notation for electroacoustic/digital media

[Lawrence David Eden]

Congrats on your achievement, Jef.

> On Mar 8, 2018, at 4:07 PM, SN jef chippewa  
> wrote:
> 
> 
> sooo yeah.  finally got around to starting to commit some of this 
> music notation stuff in my head to "paper".  perhaps of interest to 
> some here.  was published in the latest issue of the online journal 
> eContact!
> 
> Typology and Problematics of Fixed Notation for the Representation of 
> Electroacoustic and Digital Media: Preamble; Part I. Waveform display 
> notation
> http://econtact.ca/19_3/chippewa_notation-waveform.html
> 
> i also wrote the editorial... and i think it is one of my best in a long time
> http://econtact.ca/19_3/editorial.html
> 
> enjoy!
> jef
> 
> -- 
> 
> neueweise -- fonts for new music (and traditional) notation
> http://newmusicnotation.com/fonts.html
> 
> shirling & neueweise  |  http://newmusicnotation.com
> new music notation  +  arts management  +  translation
> [FB] http://facebook.com/neueweise  |  [TW] http://twitter.com/neueweise
> 
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Re: [Finale] [OT] article: notation for electroacoustic/digital media

[Christopher Smith]

Nice! Keep up the good work, jef!

Christopher


> On Thu Mar 8, at ThursdayMar 8 4:07 PM, SN jef chippewa 
>  wrote:
> 
> 
> sooo yeah.  finally got around to starting to commit some of this 
> music notation stuff in my head to "paper".  perhaps of interest to 
> some here.  was published in the latest issue of the online journal 
> eContact!
> 
> Typology and Problematics of Fixed Notation for the Representation of 
> Electroacoustic and Digital Media: Preamble; Part I. Waveform display 
> notation
> http://econtact.ca/19_3/chippewa_notation-waveform.html
> 
> i also wrote the editorial... and i think it is one of my best in a long time
> http://econtact.ca/19_3/editorial.html
> 
> enjoy!
> jef
> 
> -- 
> 
> neueweise -- fonts for new music (and traditional) notation
> http://newmusicnotation.com/fonts.html
> 
> shirling & neueweise  |  http://newmusicnotation.com
> new music notation  +  arts management  +  translation
> [FB] http://facebook.com/neueweise  |  [TW] http://twitter.com/neueweise
> 
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Re: [Finale] [OT] article: notation for electroacoustic/digital media

[Barbara Touburg]

On 8-3-2018 22:07, SN jef chippewa wrote:
> 
> sooo yeah.  finally got around to starting to commit some of this
> music notation stuff in my head to "paper".  perhaps of interest to
> some here.  was published in the latest issue of the online journal
> eContact!

Thank you for those articles. I've forwarded your mail to a 
client/composer, who studied composition and electronic music. It might 
interest him.
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Re: [Finale] OT: iKey vs yKey

[Robert Patterson]

To follow up: yKey is indeed the successor to iKey. They probably had to
change the name because of this iKey . Anyway I
downloaded the latest version of yKey. It seems to have recognized my
license and works essentially the same as iKey did. (I have not noticed any
changes.)

On Mon, Dec 4, 2017 at 7:35 PM, SN jef chippewa <
shirl...@newmusicnotation.com> wrote:

>
> i'm on a different partition/system right now than where i use
> F2014.5 , so can't check the name, but it seems that the software was
> sold and auto-updated itself.  i'm still using it (in its new
> manifestation), all is fine.  the interface is a little different but
> nothing radical to adjust to.
>
> >Does anyone on this list use yKey? It seems to be the replacement for
> iKey.
> >Can it use the iKey shortcuts I already have?
>
> --
>
> neueweise -- fonts for new music (and traditional) notation
> http://newmusicnotation.com/fonts.html
>
> shirling & neueweise  |  http://newmusicnotation.com
> new music notation  +  arts management  +  translation
> [FB] http://facebook.com/neueweise  |  [TW] http://twitter.com/neueweise
>
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Re: [Finale] OT: iKey vs yKey

[SN jef chippewa]

i'm on a different partition/system right now than where i use 
F2014.5 , so can't check the name, but it seems that the software was 
sold and auto-updated itself.  i'm still using it (in its new 
manifestation), all is fine.  the interface is a little different but 
nothing radical to adjust to.

>Does anyone on this list use yKey? It seems to be the replacement for iKey.
>Can it use the iKey shortcuts I already have?

-- 

neueweise -- fonts for new music (and traditional) notation
http://newmusicnotation.com/fonts.html

shirling & neueweise  |  http://newmusicnotation.com
new music notation  +  arts management  +  translation
[FB] http://facebook.com/neueweise  |  [TW] http://twitter.com/neueweise

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Re: [Finale] OT: More Xenakis

[Eduardo Moguillansky]

I did not get to know Xenakis myself, but many people who studied and
worked with him. Regarding his electronic music, there is an anecdote told
by Takemitsu, were he observed that in spite of having planned many things
very meticulously, he would then listen to parts and change things on the
spot.

Anyway, you probably might know this, but here you can check his book
"Formalized Music" which describes some of his ways of working over the
years:

https://monoskop.org/Xenakis

On Mon, Jan 16, 2017 at 4:48 PM, Robert Patterson <
rob...@robertgpatterson.com> wrote:

> Earlier I posted a question about getting musicxml out of descendants of
> the programs that Xenakis used for stochastic processing. But a more basic
> question is, does anyone know how Xenakis himself worked? Did he simply
> listen to the electronic output and transcribe it for instruments? Or was
> there some more methodical process?
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Re: [Finale] OT Music theory question

[Haroldo Mauro]

Yes, I write it as a C11 if the chord functions as a dominant. C7, C9, C11 (3rd 
ommited) and C13 are the basic dominant chords. The "sus" indication is, to me, 
inaccurate and unecessary, since the fourth does not have to be prepared or 
resolved. And usually it is neither. That note is really a high dissonance 
added to the chord. If the chord does not function as a dominant, then I'd 
write as C4,7,9 without the unecessary "sus" indication. In other words, the 
4th takes the place of the 3rd, which is not assumed to be major. It could be 
minor depending on the context. In the C11 the 3rd is assumed to be major, even 
though it is ommited.

Haroldo


On 24/03/2016, at 16:46, j...@thomastudios.com wrote:

> Lon is right.  Being a keyboard player myself, I’ve always considered this 
> Bb/C chord symbol as a means to dictate a specific voicing, moreso than 
> C7sus4 or even C9sus4, which is what the added D infers.  Variations of 
> density can be had by Gm7/C and Bbma7/C.  All of these tend to render a 
> specific voicing, and they are all really just a C11 chord.  But if you write 
> that symbol you’re going to get some earless moron adding and E to the 
> vertical stack, which is a train wreck.  Bb/C is by far the most direct 
> symbol.
> 
> 
> ***
> J D Thomas
> ThomaStudios
> 
> 
> 
>> On Mar 24, 2016, at 12:20 PM, Lon Price  wrote:
>> 
>> This is sometimes referred to as the "Carol King chord,"  as she used it 
>> quite often in her music. It is most often written as Bb/C, and is used as a 
>> sus chord, in this case C7sus4 in the key of F.
>> 
>>> On Mar 24, 2016, at 12:11 PM, timothy price  
>>> wrote:
>>> 
>>> This seems the most simple and correct, imo.
>>> The Bb major chord is only altered by the tonic being raised a C. 
>>> I think that this resulting chord, as a passing tone,
>>> could unimaginatively resolve to an F maj. second inversion.
>>> 
>>> tim
>>> 
>>> 
>>> On Mar 24, 2016, at 2:56 PM, Steven Larsen wrote:
>>> 
 In a word, no. In a tonal context it could be analyzed in a couple of
 different ways, but I'd have to see what else was happening around it. As a
 chord symbol it would be:
 BbMaj/C
 
 Steve Larsen
 
 -Original Message-
 From: Marcello Noia [mailto:marcellon...@gmail.com] 
 Sent: Wednesday, March 23, 2016 2:41 AM
 To: finale@shsu.edu
 Subject: [Finale] OT Music theory question
 
 Hi, due to my huge lackness in harmonical theory, I ask this:
 is there a technical term to define a chord formed by (starting from low
 note) perfect fourth-perfect fourth-major third (for example C-F-Bb-D).
 I see it often used in vocal arrangements (Jonathan Rathbone for Swingle
 Singers for example), sometimes also in progression for ascending or
 descending whole tones or half-tones. It creates a beautiful "suspended" 
 and
 "misterioso" atmosphere.
 Thanks
 
 
 ___
 Finale mailing list
 Finale@shsu.edu
 https://lists.shsu.edu/mailman/listinfo/finale
 
 To unsubscribe from finale send a message to:
 finale-unsubscr...@shsu.edu
>>> 
>>> 
>>> ___
>>> Finale mailing list
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>>> https://lists.shsu.edu/mailman/listinfo/finale
>>> 
>>> To unsubscribe from finale send a message to:
>>> finale-unsubscr...@shsu.edu
>> 
>> **
>> Lon Price
>> lonpr...@att.net
>> http://www.txstnr.com/
>> 
>> 
>> 
>> 
>> 
>> ___
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> 
> 
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Re: [Finale] OT Music theory question

[j...@thomastudios.com]

Lon is right.  Being a keyboard player myself, I’ve always considered this Bb/C 
chord symbol as a means to dictate a specific voicing, moreso than C7sus4 or 
even C9sus4, which is what the added D infers.  Variations of density can be 
had by Gm7/C and Bbma7/C.  All of these tend to render a specific voicing, and 
they are all really just a C11 chord.  But if you write that symbol you’re 
going to get some earless moron adding and E to the vertical stack, which is a 
train wreck.  Bb/C is by far the most direct symbol.


***
J D Thomas
ThomaStudios



> On Mar 24, 2016, at 12:20 PM, Lon Price  wrote:
> 
> This is sometimes referred to as the "Carol King chord,"  as she used it 
> quite often in her music. It is most often written as Bb/C, and is used as a 
> sus chord, in this case C7sus4 in the key of F.
> 
>> On Mar 24, 2016, at 12:11 PM, timothy price  wrote:
>> 
>> This seems the most simple and correct, imo.
>> The Bb major chord is only altered by the tonic being raised a C. 
>> I think that this resulting chord, as a passing tone,
>> could unimaginatively resolve to an F maj. second inversion.
>> 
>> tim
>> 
>> 
>> On Mar 24, 2016, at 2:56 PM, Steven Larsen wrote:
>> 
>>> In a word, no. In a tonal context it could be analyzed in a couple of
>>> different ways, but I'd have to see what else was happening around it. As a
>>> chord symbol it would be:
>>> BbMaj/C
>>> 
>>> Steve Larsen
>>> 
>>> -Original Message-
>>> From: Marcello Noia [mailto:marcellon...@gmail.com] 
>>> Sent: Wednesday, March 23, 2016 2:41 AM
>>> To: finale@shsu.edu
>>> Subject: [Finale] OT Music theory question
>>> 
>>> Hi, due to my huge lackness in harmonical theory, I ask this:
>>> is there a technical term to define a chord formed by (starting from low
>>> note) perfect fourth-perfect fourth-major third (for example C-F-Bb-D).
>>> I see it often used in vocal arrangements (Jonathan Rathbone for Swingle
>>> Singers for example), sometimes also in progression for ascending or
>>> descending whole tones or half-tones. It creates a beautiful "suspended" and
>>> "misterioso" atmosphere.
>>> Thanks
>>> 
>>> 
>>> ___
>>> Finale mailing list
>>> Finale@shsu.edu
>>> https://lists.shsu.edu/mailman/listinfo/finale
>>> 
>>> To unsubscribe from finale send a message to:
>>> finale-unsubscr...@shsu.edu
>> 
>> 
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> 
> **
> Lon Price
> lonpr...@att.net
> http://www.txstnr.com/
> 
> 
> 
> 
> 
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Re: [Finale] OT Music theory question

[Lon Price]

This is sometimes referred to as the "Carol King chord,"  as she used it quite 
often in her music. It is most often written as Bb/C, and is used as a sus 
chord, in this case C7sus4 in the key of F.

> On Mar 24, 2016, at 12:11 PM, timothy price  wrote:
> 
> This seems the most simple and correct, imo.
> The Bb major chord is only altered by the tonic being raised a C. 
> I think that this resulting chord, as a passing tone,
> could unimaginatively resolve to an F maj. second inversion.
> 
> tim
> 
> 
> On Mar 24, 2016, at 2:56 PM, Steven Larsen wrote:
> 
>> In a word, no. In a tonal context it could be analyzed in a couple of
>> different ways, but I'd have to see what else was happening around it. As a
>> chord symbol it would be:
>> BbMaj/C
>> 
>> Steve Larsen
>> 
>> -Original Message-
>> From: Marcello Noia [mailto:marcellon...@gmail.com] 
>> Sent: Wednesday, March 23, 2016 2:41 AM
>> To: finale@shsu.edu
>> Subject: [Finale] OT Music theory question
>> 
>> Hi, due to my huge lackness in harmonical theory, I ask this:
>> is there a technical term to define a chord formed by (starting from low
>> note) perfect fourth-perfect fourth-major third (for example C-F-Bb-D).
>> I see it often used in vocal arrangements (Jonathan Rathbone for Swingle
>> Singers for example), sometimes also in progression for ascending or
>> descending whole tones or half-tones. It creates a beautiful "suspended" and
>> "misterioso" atmosphere.
>> Thanks
>> 
>> 
>> ___
>> Finale mailing list
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>> https://lists.shsu.edu/mailman/listinfo/finale
>> 
>> To unsubscribe from finale send a message to:
>> finale-unsubscr...@shsu.edu
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**
Lon Price
lonpr...@att.net
http://www.txstnr.com/





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Re: [Finale] OT Music theory question

[timothy price]

This seems the most simple and correct, imo.
The Bb major chord is only altered by the tonic being raised a C. 
I think that this resulting chord, as a passing tone,
could unimaginatively resolve to an F maj. second inversion.

tim


On Mar 24, 2016, at 2:56 PM, Steven Larsen wrote:

> In a word, no. In a tonal context it could be analyzed in a couple of
> different ways, but I'd have to see what else was happening around it. As a
> chord symbol it would be:
> BbMaj/C
> 
> Steve Larsen
> 
> -Original Message-
> From: Marcello Noia [mailto:marcellon...@gmail.com] 
> Sent: Wednesday, March 23, 2016 2:41 AM
> To: finale@shsu.edu
> Subject: [Finale] OT Music theory question
> 
> Hi, due to my huge lackness in harmonical theory, I ask this:
> is there a technical term to define a chord formed by (starting from low
> note) perfect fourth-perfect fourth-major third (for example C-F-Bb-D).
> I see it often used in vocal arrangements (Jonathan Rathbone for Swingle
> Singers for example), sometimes also in progression for ascending or
> descending whole tones or half-tones. It creates a beautiful "suspended" and
> "misterioso" atmosphere.
> Thanks
> 
> 
> ___
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Re: [Finale] OT Music theory question

[Steven Larsen]

In a word, no. In a tonal context it could be analyzed in a couple of
different ways, but I'd have to see what else was happening around it. As a
chord symbol it would be:
 BbMaj/C

Steve Larsen

-Original Message-
From: Marcello Noia [mailto:marcellon...@gmail.com] 
Sent: Wednesday, March 23, 2016 2:41 AM
To: finale@shsu.edu
Subject: [Finale] OT Music theory question

Hi, due to my huge lackness in harmonical theory, I ask this:
is there a technical term to define a chord formed by (starting from low
note) perfect fourth-perfect fourth-major third (for example C-F-Bb-D).
I see it often used in vocal arrangements (Jonathan Rathbone for Swingle
Singers for example), sometimes also in progression for ascending or
descending whole tones or half-tones. It creates a beautiful "suspended" and
"misterioso" atmosphere.
Thanks


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Re: [Finale] OT Music theory question

[Don Hart]

That difficulty seems to be making the rounds. 

On Wednesday, March 23, 2016, Marcello Noia  wrote:

> Yes! Gene Puerling largely used that thing, besides of many
> "unconventional" harmonization tricks.
> I rehearsed yesterday that arrangement too, very hard to pick those
> intervals for the singers
> singing the harmony parts
>
>
> Il 23/03/2016 15:04, Don Hart ha scritto:
> > It really depends on harmonic context and function. Was at a rehearsal
> the
> > other day of Gene Puerling's "A Nightingale Sang in Berkeley Square" and
> he
> > used a similar voicing for the tonic chord at the end of a cadence--9th
> in
> > the bass.
> >
> > Seems this is an example of where chord symbols fail. In most western
> > harmony using pop/jazz chord symbols, calling this voicing of the
> > tonic Bb/C would certainly bring to mind the possibility of a dominant
> > function. Not really sure what would be better. Maybe Bb2/C? Of course, a
> > key signature could help.
> >
> > Don Hart
> >
> > On Wednesday, March 23, 2016, Christopher Smith<
> > christopher.sm...@videotron.ca >  wrote:
> >
> >>  From a jazz perspective, I would call it a C9sus4 chord, or Bb/C (these
> >> two symbols are considered to be interchangeable and mean the same chord
> >> function.) It’s a suspended dominant chord, where the suspensions don’t
> >> need to resolve, but sometimes they do, to a C7 or some other form of C7
> >> before going to F.
> >>
> >> The top three voices can be in any order. As long as the C is the bottom
> >> note, it will fulfill the same function. The note G is completely
> optional
> >> (as the P5th of any chord is the first note to be dropped, for reasons
> of
> >> chord clarity, voice leading, or simple preference). Try adding an A on
> top
> >> (or in the middle) for extra misterioso!
> >>
> >> Christopher
> >>
> >>
> >>> On Wed Mar 23, at WednesdayMar 23 3:40 AM, Marcello Noia<
> >> marcellon...@gmail.com >  wrote:
> >>> Hi, due to my huge lackness in harmonical theory, I ask this:
> >>> is there a technical term to define a chord formed by
> >>> (starting from low note) perfect fourth-perfect fourth-major third
> >>> (for example C-F-Bb-D).
> >>> I see it often used in vocal arrangements (Jonathan Rathbone for
> >>> Swingle Singers for example), sometimes also in progression for
> >>> ascending or descending whole tones or half-tones. It creates
> >>> a beautiful "suspended" and "misterioso" atmosphere.
> >>> Thanks
> >>> ___
> >>> Finale mailing list
> >>> Finale@shsu.edu 
> >>> https://lists.shsu.edu/mailman/listinfo/finale
> >>>
> >>> To unsubscribe from finale send a message to:
> >>> finale-unsubscr...@shsu.edu 
> >>
> >> ___
> >> Finale mailing list
> >> Finale@shsu.edu 
> >> https://lists.shsu.edu/mailman/listinfo/finale
> >>
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Re: [Finale] OT Music theory question

[Marcello Noia]

I wonder if some expert in contemporary classical music could address me to
some examples of that voicing used also in instrumental compositions.
I would like to know who was the "inventor" of this harmonic solution

Il 23/03/2016 15:04, Don Hart ha scritto:
> It really depends on harmonic context and function. Was at a rehearsal the
> other day of Gene Puerling's "A Nightingale Sang in Berkeley Square" and he
> used a similar voicing for the tonic chord at the end of a cadence--9th in
> the bass.
>
> Seems this is an example of where chord symbols fail. In most western
> harmony using pop/jazz chord symbols, calling this voicing of the
> tonic Bb/C would certainly bring to mind the possibility of a dominant
> function. Not really sure what would be better. Maybe Bb2/C? Of course, a
> key signature could help.
>
> Don Hart
>
> On Wednesday, March 23, 2016, Christopher Smith<
> christopher.sm...@videotron.ca>  wrote:
>
>>  From a jazz perspective, I would call it a C9sus4 chord, or Bb/C (these
>> two symbols are considered to be interchangeable and mean the same chord
>> function.) It’s a suspended dominant chord, where the suspensions don’t
>> need to resolve, but sometimes they do, to a C7 or some other form of C7
>> before going to F.
>>
>> The top three voices can be in any order. As long as the C is the bottom
>> note, it will fulfill the same function. The note G is completely optional
>> (as the P5th of any chord is the first note to be dropped, for reasons of
>> chord clarity, voice leading, or simple preference). Try adding an A on top
>> (or in the middle) for extra misterioso!
>>
>> Christopher
>>
>>
>>> On Wed Mar 23, at WednesdayMar 23 3:40 AM, Marcello Noia<
>> marcellon...@gmail.com>  wrote:
>>> Hi, due to my huge lackness in harmonical theory, I ask this:
>>> is there a technical term to define a chord formed by
>>> (starting from low note) perfect fourth-perfect fourth-major third
>>> (for example C-F-Bb-D).
>>> I see it often used in vocal arrangements (Jonathan Rathbone for
>>> Swingle Singers for example), sometimes also in progression for
>>> ascending or descending whole tones or half-tones. It creates
>>> a beautiful "suspended" and "misterioso" atmosphere.
>>> Thanks
>>> ___
>>> Finale mailing list
>>> Finale@shsu.edu
>>> https://lists.shsu.edu/mailman/listinfo/finale
>>>
>>> To unsubscribe from finale send a message to:
>>> finale-unsubscr...@shsu.edu
>>
>> ___
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>>
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Re: [Finale] OT Music theory question

[Marcello Noia]

Yes! Gene Puerling largely used that thing, besides of many 
"unconventional" harmonization tricks.
I rehearsed yesterday that arrangement too, very hard to pick those 
intervals for the singers
singing the harmony parts


Il 23/03/2016 15:04, Don Hart ha scritto:
> It really depends on harmonic context and function. Was at a rehearsal the
> other day of Gene Puerling's "A Nightingale Sang in Berkeley Square" and he
> used a similar voicing for the tonic chord at the end of a cadence--9th in
> the bass.
>
> Seems this is an example of where chord symbols fail. In most western
> harmony using pop/jazz chord symbols, calling this voicing of the
> tonic Bb/C would certainly bring to mind the possibility of a dominant
> function. Not really sure what would be better. Maybe Bb2/C? Of course, a
> key signature could help.
>
> Don Hart
>
> On Wednesday, March 23, 2016, Christopher Smith<
> christopher.sm...@videotron.ca>  wrote:
>
>>  From a jazz perspective, I would call it a C9sus4 chord, or Bb/C (these
>> two symbols are considered to be interchangeable and mean the same chord
>> function.) It’s a suspended dominant chord, where the suspensions don’t
>> need to resolve, but sometimes they do, to a C7 or some other form of C7
>> before going to F.
>>
>> The top three voices can be in any order. As long as the C is the bottom
>> note, it will fulfill the same function. The note G is completely optional
>> (as the P5th of any chord is the first note to be dropped, for reasons of
>> chord clarity, voice leading, or simple preference). Try adding an A on top
>> (or in the middle) for extra misterioso!
>>
>> Christopher
>>
>>
>>> On Wed Mar 23, at WednesdayMar 23 3:40 AM, Marcello Noia<
>> marcellon...@gmail.com>  wrote:
>>> Hi, due to my huge lackness in harmonical theory, I ask this:
>>> is there a technical term to define a chord formed by
>>> (starting from low note) perfect fourth-perfect fourth-major third
>>> (for example C-F-Bb-D).
>>> I see it often used in vocal arrangements (Jonathan Rathbone for
>>> Swingle Singers for example), sometimes also in progression for
>>> ascending or descending whole tones or half-tones. It creates
>>> a beautiful "suspended" and "misterioso" atmosphere.
>>> Thanks
>>> ___
>>> Finale mailing list
>>> Finale@shsu.edu
>>> https://lists.shsu.edu/mailman/listinfo/finale
>>>
>>> To unsubscribe from finale send a message to:
>>> finale-unsubscr...@shsu.edu
>>
>> ___
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>>
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Re: [Finale] OT Music theory question

[Don Hart]

It really depends on harmonic context and function. Was at a rehearsal the
other day of Gene Puerling's "A Nightingale Sang in Berkeley Square" and he
used a similar voicing for the tonic chord at the end of a cadence--9th in
the bass.

Seems this is an example of where chord symbols fail. In most western
harmony using pop/jazz chord symbols, calling this voicing of the
tonic Bb/C would certainly bring to mind the possibility of a dominant
function. Not really sure what would be better. Maybe Bb2/C? Of course, a
key signature could help.

Don Hart

On Wednesday, March 23, 2016, Christopher Smith <
christopher.sm...@videotron.ca> wrote:

> From a jazz perspective, I would call it a C9sus4 chord, or Bb/C (these
> two symbols are considered to be interchangeable and mean the same chord
> function.) It’s a suspended dominant chord, where the suspensions don’t
> need to resolve, but sometimes they do, to a C7 or some other form of C7
> before going to F.
>
> The top three voices can be in any order. As long as the C is the bottom
> note, it will fulfill the same function. The note G is completely optional
> (as the P5th of any chord is the first note to be dropped, for reasons of
> chord clarity, voice leading, or simple preference). Try adding an A on top
> (or in the middle) for extra misterioso!
>
> Christopher
>
>
> > On Wed Mar 23, at WednesdayMar 23 3:40 AM, Marcello Noia <
> marcellon...@gmail.com > wrote:
> >
> > Hi, due to my huge lackness in harmonical theory, I ask this:
> > is there a technical term to define a chord formed by
> > (starting from low note) perfect fourth-perfect fourth-major third
> > (for example C-F-Bb-D).
> > I see it often used in vocal arrangements (Jonathan Rathbone for
> > Swingle Singers for example), sometimes also in progression for
> > ascending or descending whole tones or half-tones. It creates
> > a beautiful "suspended" and "misterioso" atmosphere.
> > Thanks
> > ___
> > Finale mailing list
> > Finale@shsu.edu 
> > https://lists.shsu.edu/mailman/listinfo/finale
> >
> > To unsubscribe from finale send a message to:
> > finale-unsubscr...@shsu.edu 
>
>
> ___
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>
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Re: [Finale] OT Music theory question

[Christopher Smith]

From a jazz perspective, I would call it a C9sus4 chord, or Bb/C (these two 
symbols are considered to be interchangeable and mean the same chord function.) 
It’s a suspended dominant chord, where the suspensions don’t need to resolve, 
but sometimes they do, to a C7 or some other form of C7 before going to F.

The top three voices can be in any order. As long as the C is the bottom note, 
it will fulfill the same function. The note G is completely optional (as the 
P5th of any chord is the first note to be dropped, for reasons of chord 
clarity, voice leading, or simple preference). Try adding an A on top (or in 
the middle) for extra misterioso!

Christopher


> On Wed Mar 23, at WednesdayMar 23 3:40 AM, Marcello Noia 
>  wrote:
> 
> Hi, due to my huge lackness in harmonical theory, I ask this:
> is there a technical term to define a chord formed by
> (starting from low note) perfect fourth-perfect fourth-major third
> (for example C-F-Bb-D).
> I see it often used in vocal arrangements (Jonathan Rathbone for
> Swingle Singers for example), sometimes also in progression for
> ascending or descending whole tones or half-tones. It creates
> a beautiful "suspended" and "misterioso" atmosphere.
> Thanks
> ___
> Finale mailing list
> Finale@shsu.edu
> https://lists.shsu.edu/mailman/listinfo/finale
> 
> To unsubscribe from finale send a message to:
> finale-unsubscr...@shsu.edu


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Re: [Finale] OT Music theory question

[Marcello Noia]

Thanks, in fact I was not clear. In terms of chord symbol I know where I
am, I meant if this sequence of intervals gas a specific academic name. Thnx
I would use C sus.

All the best,

Diddi

Sigurdur Jonsson
27, Von der Heydt
66115, Saarbrücken
Deutschland
diddiste...@gmail.com



> On 23. mar. 2016, at 09:43, Klaus Smedegaard Bjerre <
yorkmaster...@gmail.com> wrote:
>
> C9sus4
>
> Klaus
>
> Sendt fra min iPad
>
>> Den 23. mar. 2016 kl. 08.40 skrev Marcello Noia :
>>
>> Hi, due to my huge lackness in harmonical theory, I ask this:
>> is there a technical term to define a chord formed by
>> (starting from low note) perfect fourth-perfect fourth-major third
>> (for example C-F-Bb-D).
>> I see it often used in vocal arrangements (Jonathan Rathbone for
>> Swingle Singers for example), sometimes also in progression for
>> ascending or descending whole tones or half-tones. It creates
>> a beautiful "suspended" and "misterioso" atmosphere.
>> Thanks
>> ___
>> Finale mailing list
>> Finale@shsu.edu
>> https://lists.shsu.edu/mailman/listinfo/finale
>>
>> To unsubscribe from finale send a message to:
>> finale-unsubscr...@shsu.edu
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Re: [Finale] OT Music theory question

[Haroldo Mauro]

Or just C11
Harold

On 23/03/2016, at 05:43, Klaus Smedegaard Bjerre wrote:

> C9sus4
> 
> Klaus
> 
> Sendt fra min iPad
> 
>> Den 23. mar. 2016 kl. 08.40 skrev Marcello Noia :
>> 
>> Hi, due to my huge lackness in harmonical theory, I ask this:
>> is there a technical term to define a chord formed by
>> (starting from low note) perfect fourth-perfect fourth-major third
>> (for example C-F-Bb-D).
>> I see it often used in vocal arrangements (Jonathan Rathbone for
>> Swingle Singers for example), sometimes also in progression for
>> ascending or descending whole tones or half-tones. It creates
>> a beautiful "suspended" and "misterioso" atmosphere.
>> Thanks
>> ___
>> Finale mailing list
>> Finale@shsu.edu
>> https://lists.shsu.edu/mailman/listinfo/finale
>> 
>> To unsubscribe from finale send a message to:
>> finale-unsubscr...@shsu.edu
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Re: [Finale] OT Music theory question

[Sigurdur Jonsson]

I would use C sus.

All the best,

Diddi

Sigurdur Jonsson
27, Von der Heydt
66115, Saarbrücken
Deutschland
diddiste...@gmail.com



> On 23. mar. 2016, at 09:43, Klaus Smedegaard Bjerre  
> wrote:
> 
> C9sus4
> 
> Klaus
> 
> Sendt fra min iPad
> 
>> Den 23. mar. 2016 kl. 08.40 skrev Marcello Noia :
>> 
>> Hi, due to my huge lackness in harmonical theory, I ask this:
>> is there a technical term to define a chord formed by
>> (starting from low note) perfect fourth-perfect fourth-major third
>> (for example C-F-Bb-D).
>> I see it often used in vocal arrangements (Jonathan Rathbone for
>> Swingle Singers for example), sometimes also in progression for
>> ascending or descending whole tones or half-tones. It creates
>> a beautiful "suspended" and "misterioso" atmosphere.
>> Thanks
>> ___
>> Finale mailing list
>> Finale@shsu.edu
>> https://lists.shsu.edu/mailman/listinfo/finale
>> 
>> To unsubscribe from finale send a message to:
>> finale-unsubscr...@shsu.edu
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Re: [Finale] OT Music theory question

[Klaus Smedegaard Bjerre]

C9sus4

Klaus

Sendt fra min iPad

> Den 23. mar. 2016 kl. 08.40 skrev Marcello Noia :
> 
> Hi, due to my huge lackness in harmonical theory, I ask this:
> is there a technical term to define a chord formed by
> (starting from low note) perfect fourth-perfect fourth-major third
> (for example C-F-Bb-D).
> I see it often used in vocal arrangements (Jonathan Rathbone for
> Swingle Singers for example), sometimes also in progression for
> ascending or descending whole tones or half-tones. It creates
> a beautiful "suspended" and "misterioso" atmosphere.
> Thanks
> ___
> Finale mailing list
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> https://lists.shsu.edu/mailman/listinfo/finale
> 
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Re: [Finale] OT Music theory question

[David McKay]

A simple way of defining it would be B flat/C [B flat major with a C in the
bass] or B flat major 2nd inversion, with C in the bass.

Is that the kind of thing you're looking for?
David McKay

On 23 March 2016 at 18:40, Marcello Noia  wrote:

> Hi, due to my huge lackness in harmonical theory, I ask this:
> is there a technical term to define a chord formed by
> (starting from low note) perfect fourth-perfect fourth-major third
> (for example C-F-Bb-D).
> I see it often used in vocal arrangements (Jonathan Rathbone for
> Swingle Singers for example), sometimes also in progression for
> ascending or descending whole tones or half-tones. It creates
> a beautiful "suspended" and "misterioso" atmosphere.
> Thanks
> ___
> Finale mailing list
> Finale@shsu.edu
> https://lists.shsu.edu/mailman/listinfo/finale
>
> To unsubscribe from finale send a message to:
> finale-unsubscr...@shsu.edu
>



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Re: [Finale] OT: Laptop accessories

[David H. Bailey]

On 2/5/2016 6:42 PM, Ryan wrote:
> I normally use a desktop for my Finale work, but a job has appeared and
> I'll need a laptop to work away from home. If you use a laptop for Finale,
> what accessories do you recommend?
>
> Along with the MacBook, I plan on getting a mini MIDI keyboard, and numeric
> keypad. Not sure I'll need much more (aside from a bag to hold all of it),
> but perhaps there's something else that may be useful?
>


When looking into a mini MIDI keyboard, think carefully about whether 
you will be most comfortable using a 25-key (2 octave) or 37-key (3 
octave) keyboard.  I've used a 2-octave keyboard for years (the original 
Korg NanoKey) but have always been frustrated having to switch octaves 
up and down since many instrumental parts cover more than 2 octaves. 
But the 2-octave keyboards (I have moved to an IK-Multimedia iRig Keys 
Mini since it's more modern and is "class-compliant" so it doesn't 
require drivers) are small enough to fit into the same computer bag with 
my notebook.

I've just bought the Korg MicroKey37 keyboard ($85 at Sweetwater) and 
have to say that it is very well built.  I bought it to be able to use 
it with my iPad, which the promo material at Sweetwater said was 
possible, but find that it needs to be run through a powered hub to work 
with the iPad.  It works great with my HP laptop, though.  I'm returning 
it in favor of the bluetooth version MicroKey37Air ($130 at Sweetwater). 
  The basic keyboard also serves as a USB hub, which is where the power 
need is greater than the iPad's Lightning connector (using the Apple 
Camera Connection Kit) comes in.  The more expensive version can be 
attached via USB cable or bluetooth.  I should be getting the 
MicroKey37Air delivered today and will put it through several tests. 
These Korg keyboards have pitch-bend and mod wheels, the Air version 
supports the use of a footpedal and requires 2 AA batteries to power the 
bluetooth.  It's a solid keyboard with great feel to the mini keys.

The big problem with a 3-octave keyboard is that the smallest ones are 
still 23" long, which is much too long for most computer bags and even 
many backpacks, so transporting my new keyboard will be an interesting 
endeavor when I travel.

But working with 37 keys is so much more convenient than working with 25 
keys, and the octaves are still switchable up and down using buttons on 
the keyboard so that the full range of midi notes is covered.

I looked into bluetooth numeric keypads but never found one that was 
inexpensive enough for my taste, so I bought a USB version for about $20 
(at Amazon a couple of years ago) which works great.

There are some fine bluetooth speakers available Sony which fit 
conveniently into my computer bag but earbuds will be just as nice 
sounding and will provide better privacy for your music work while 
you're traveling.  Consider some bluetooth earbuds for convenience -- I 
have a pair and it's so nice to be able to simply stand up from working 
at my notebook and walk around as needed without having to remember to 
remove the earbuds.  They're great for listening to music, too!


-- 
David H. Bailey
dhbai...@davidbaileymusicstudio.com
http://www.davidbaileymusicstudio.com
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Re: [Finale] OT: Laptop accessories

[Gippo Mercoli]

I add an external trackpad to my macbook and use a midi keyboard mostly for 
inserting notes. 


-- 
Gippo Mercoli
www.clubgippo.com
www.gamusic.com 
www.djangoassociation.it


On 6 Feb 2016 at 02:57:04, timothy price (timothy.pr...@valley.net) wrote:

Agree with Christopher, however, i was raised on trackballs, so prefer them, 
without a cord, a trackball requires no additional space to move precisely and 
fast. For all graphics work, think trackballs are easier on the hand and arm. 
Again, personal choice.  

tim  


On Feb 5, 2016, at 8:00 PM, Christopher Smith wrote:  

> I carry a full-sized keyboard with me, because the numeric keypad doesn’t 
> have a Clear key, among other reasons. I also can work more ergonomically on 
> the full-sized keyboard.  
>  
> Also a mouse. I am ever so much more comfortable with a mouse than with a 
> trackpad. Your mileage may vary.  
>  
> Christopher  


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Re: [Finale] OT: Laptop accessories

[Lawrence Yates]

I regularly use Finale on my laptop - the only extra I use is a proper
mouse (cordless) because I find the touchpad too awkward to use.

Cheers,

Lawrence

On 5 February 2016 at 23:42, Ryan  wrote:

> I normally use a desktop for my Finale work, but a job has appeared and
> I'll need a laptop to work away from home. If you use a laptop for Finale,
> what accessories do you recommend?
>
> Along with the MacBook, I plan on getting a mini MIDI keyboard, and numeric
> keypad. Not sure I'll need much more (aside from a bag to hold all of it),
> but perhaps there's something else that may be useful?
>
>
> Thanks!
>
> Ryan
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Re: [Finale] OT: Laptop accessories

[timothy price]

Agree with Christopher, however, i was raised on trackballs, so prefer them,  
without a cord, a trackball requires no additional space to move precisely and 
fast. For all graphics work, think trackballs are easier on the hand and arm.  
Again, personal choice.

tim


On Feb 5, 2016, at 8:00 PM, Christopher Smith wrote:

> I carry a full-sized keyboard with me, because the numeric keypad doesn’t 
> have a Clear key, among other reasons. I also can work more ergonomically on 
> the full-sized keyboard. 
> 
> Also a mouse. I am ever so much more comfortable with a mouse than with a 
> trackpad. Your mileage may vary.
> 
> Christopher


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Re: [Finale] OT: Laptop accessories

[Christopher Smith]

I carry a full-sized keyboard with me, because the numeric keypad doesn’t have 
a Clear key, among other reasons. I also can work more ergonomically on the 
full-sized keyboard. 

Also a mouse. I am ever so much more comfortable with a mouse than with a 
trackpad. Your mileage may vary.

Christopher


> On Feb 5, 2016, at 3:42 PM, Ryan  wrote:
> 
> I normally use a desktop for my Finale work, but a job has appeared and
> I'll need a laptop to work away from home. If you use a laptop for Finale,
> what accessories do you recommend?
> 
> Along with the MacBook, I plan on getting a mini MIDI keyboard, and numeric
> keypad. Not sure I'll need much more (aside from a bag to hold all of it),
> but perhaps there's something else that may be useful?
> 
> 
> Thanks!
> 
> Ryan
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Re: [Finale] OT: Does anyone read Polish

[Ryan]

If you can't find anyone, you might try Google. I've had acceptable results
from translate.google.com

Ryan

On Wed, Feb 3, 2016 at 9:00 AM, Robert Patterson <
rob...@robertgpatterson.com> wrote:

> Is there someone on this list that could translate a performance
> instruction for me? The score only shows it in the original Polish. I can
> send you a scan offline
>
> Thanks,
> Robert
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Re: [Finale] OT: Children's Choir Chest Voice?

[Chuck Israels]

Babies cry, children yell.  That’s always in chest voice, and they survive just 
fine. Pavarotti said singing is yelling at pitch.

Of course, it’s possible to overdo anything, but I don’t see this as a problem 
unless the expectation of volume is painfully great.  If it doesn’t hurt, they 
should be fine.

Chuck


> On Jan 5, 2016, at 6:34 AM, Robert Patterson  
> wrote:
> 
> This is a question for anyone who has experience leading or working with a
> children's choir, boychoir, or girlchoir. Is asking for chest voice (e.g.,
> as a "special effect") like asking a violinist to destroy a $100,000 bow?
> Or is it a tool that you can use in special situations?
> 
> Thanks
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Chuck Israels
cisra...@comcast.net 
(360) 201-3434

8831 SE 12th Ave.
Portland OR 97202



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Re: [Finale] OT: Children's Choir Chest Voice?

[Giovanni Andreani]

Pavarotti used to be able to sing a beautiful "Do di petto" (a chest voice C5). 
I find that when practicing chest voice it's better by starting with low pitch 
notes.

Giovanni

Giovanni Andreani

> On 5 Jan 2016, at 16:59, Chuck Israels  wrote:
> 
> Babies cry, children yell.  That’s always in chest voice, and they survive 
> just fine. Pavarotti said singing is yelling at pitch.
> 
> Of course, it’s possible to overdo anything, but I don’t see this as a 
> problem unless the expectation of volume is painfully great.  If it doesn’t 
> hurt, they should be fine.
> 
> Chuck
> 
> 
>> On Jan 5, 2016, at 6:34 AM, Robert Patterson  
>> wrote:
>> 
>> This is a question for anyone who has experience leading or working with a
>> children's choir, boychoir, or girlchoir. Is asking for chest voice (e.g.,
>> as a "special effect") like asking a violinist to destroy a $100,000 bow?
>> Or is it a tool that you can use in special situations?
>> 
>> Thanks
>> ___
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>> Finale@shsu.edu
>> https://lists.shsu.edu/mailman/listinfo/finale
>> 
>> To unsubscribe from finale send a message to:
>> finale-unsubscr...@shsu.edu
> 
> Chuck Israels
> cisra...@comcast.net 
> (360) 201-3434
> 
> 8831 SE 12th Ave.
> Portland OR 97202
> 
> 
> 
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Re: [Finale] OT: Children's Choir Chest Voice?

[Paul Boesing]

Hi:  I have  a Master's degree in Voice and alot of experience.  My advice
would be to proceed with much caution.  Some young voices can handle the
chest voice better than others.  Mainly, it should never be pushed or
forced. And, as long as they understand that they're going for a special
effect and don't plan to stay down there, they should survive alright.  The
first consideration should always be Relaxation and awareness.
I hope this is helpful.  Paul
On Jan 5, 2016 8:34 AM, "Robert Patterson" 
wrote:

> This is a question for anyone who has experience leading or working with a
> children's choir, boychoir, or girlchoir. Is asking for chest voice (e.g.,
> as a "special effect") like asking a violinist to destroy a $100,000 bow?
> Or is it a tool that you can use in special situations?
>
> Thanks
> ___
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>
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> finale-unsubscr...@shsu.edu
>
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Re: [Finale] OT: Recent chamber music for French Horn

[Joyce, Brian]

I wrote an 8+ minute piece for viola, harp and wind quintet (including
horn, of course) back in 1970. Revised a few years ago and finally
premiered at a Chamber Music workshop at UNC Chapel Hill back in 2012 or
so. Horn is present, but not particularly featured so this may not be what
you're after. If you're interested, I can send you a PDF and an audio file
of the performance. Incidentally, my ensemble is every bit as unmarketable
as Pierrot, but the music much closer to tonal.

On Tue, Jul 21, 2015 at 11:13 PM, Robert Patterson 
rob...@robertgpatterson.com wrote:

 I am looking for interesting pieces (especially if there is a youtube of
 it) with 3-8 players that include 1 or 2 French horn parts, written in the
 late 20th cent. or 21st cent. I'm trying to avoid standard ensembles like
 wind and brass quintets, and I'm particularly interested in horn as part of
 a Pierrot-type ensemble or subset of it. Anyone got suggestions?
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Re: [Finale] OT: Recent chamber music for French Horn

[Lee Actor]

Not sure if it fits the bill, but how about a short piece for 8 horns?


___
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-Original Message-
From: finale-boun...@shsu.edu [mailto:finale-boun...@shsu.edu] On Behalf Of
Robert Patterson
Sent: Tuesday, July 21, 2015 8:14 PM
To: finale
Subject: [Finale] OT: Recent chamber music for French Horn

I am looking for interesting pieces (especially if there is a youtube of
it) with 3-8 players that include 1 or 2 French horn parts, written in the
late 20th cent. or 21st cent. I'm trying to avoid standard ensembles like
wind and brass quintets, and I'm particularly interested in horn as part of
a Pierrot-type ensemble or subset of it. Anyone got suggestions?
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Re: [Finale] OT: Recent chamber music for French Horn

[Dennis Bathory-Kitsz]

On Tue, July 21, 2015 11:13 pm, Robert Patterson wrote:
 I am looking for interesting pieces (especially if there is a youtube of
 it) with 3-8 players that include 1 or 2 French horn parts, written in the
 late 20th cent. or 21st cent. I'm trying to avoid standard ensembles like
 wind and brass quintets, and I'm particularly interested in horn as part of
 a Pierrot-type ensemble or subset of it. Anyone got suggestions?

I have a pretty piece for horn, viola, cello and piano called Turn Around,
Bustle  Blaze. Here's the score and the first performance by the New Leaf
Ensemble in October 2007:
 http://maltedmedia.com/people/bathory/music/waam/turn-around.pdf
 http://maltedmedia.com/people/bathory/music/waam/turn-around.mp3

Dennis




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Re: [Finale] OT: Recent chamber music for French Horn

[Nick Raspa]

I wrote a piece in 2010 called “Dimension 20 - Regeneration” which is for 
French Horn, B Flat Clarinet and Piano.  It is 9 minutes and is my dabbling in 
12 tone technique.  It was selected by “Access Contemporary Music” and 
premiered in a Chicago reading session, by members of the contemporary ensemble 
“Anaphora” in 2012, which was broadcast over the internet.  I don’t have a 
YouTube video but you can see the score and hear it on my web site:  
http://njrmusicenterprises.com/Piano_Music.php 
http://njrmusicenterprises.com/Piano_Music.php  - it's the 4th piece down on 
the page.  (note: the software for my website has some issues with 
iphone/tablets so it is best to access the site on a laptop)

Nick 

 On Jul 22, 2015, at 6:18 AM, Dennis Bathory-Kitsz bath...@maltedmedia.com 
 wrote:
 
 On Tue, July 21, 2015 11:13 pm, Robert Patterson wrote:
 I am looking for interesting pieces (especially if there is a youtube of
 it) with 3-8 players that include 1 or 2 French horn parts, written in the
 late 20th cent. or 21st cent. I'm trying to avoid standard ensembles like
 wind and brass quintets, and I'm particularly interested in horn as part of
 a Pierrot-type ensemble or subset of it. Anyone got suggestions?
 
 I have a pretty piece for horn, viola, cello and piano called Turn Around,
 Bustle  Blaze. Here's the score and the first performance by the New Leaf
 Ensemble in October 2007:
 http://maltedmedia.com/people/bathory/music/waam/turn-around.pdf
 http://maltedmedia.com/people/bathory/music/waam/turn-around.mp3
 
 Dennis
 
 
 
 
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Re: [Finale] OT: StaffPad and palm rejection

[SN jef chippewa]

masking tape? i don't know how sensitive it is, but maybe tape a 
piece of paper over the area? if you don't need it.  i never work 
with these things, so i don't really know what i am talking about, 
but there you go anyways.

-- 

NEW RELEASE!!! neueweise -- fonts for new music and traditional notation
http://newmusicnotation.com/fonts

shirling  neueweise | http://newmusicnotation.com
new music notation  +  translation  +  arts management
[FB] http://facebook.com/neueweise  |  [TW] http://twitter.com/neueweise

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Re: [Finale] [OT] iKeys scripts not converted in upgrade to yosemite

[Eric Dannewitz]

I’ve only ever had iKeys 2 and I’ve been using it since 2008……


 On Jul 9, 2015, at 4:10 PM, shirl...@newmusicnotation.com wrote:
 
 
 when i upgraded to iKeys 2 on yosemite, the programme noticed that iKeys 1 had
 been used and asked if i wanted to convert the scripts.  of course i said yes,
 then the programme hung forever.  force quit, try again, same oribs.  
 eventually
 i just said no, and everything installed correctly but now i lost 60+ scripts 
 i
 use for finale.  i found where they are but there seems to be no way of
 importing / converting from within the programme and i can't find 
 documentaiton
 on this anywhere.
 
 anyone here have any similar experiences?  or know how i can read old scripts 
 in
 the new programme?
 
 yuck.
 
 
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Re: [Finale] OT: Low end Surface Pro 3 with StaffPad

[David H. Bailey]

On 7/6/2015 10:34 PM, Chuck Israels wrote:
 If memory serves - there are rumors of a larger iPad for the fall, at which 
 point my use of ForScore for reading music will take a significant jump in 
 practicality.


There have been rumors of a larger iPad for many years, but since things
have changed a lot after the death of Steve Jobs, the rumors may
actually become reality.  I sure hope so -- an iPad with the same screen
size of the SurfacePro3 would be fantastic!


-- 
David H. Bailey
dhbai...@davidbaileymusicstudio.com
http://www.davidbaileymusicstudio.com


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Re: [Finale] OT: Low end Surface Pro 3 with StaffPad

[Darcy James Argue]

Keep in mind the Surface 3 is actually a much newer machine than the Surface 3 
Pro — the Surface 3 Pro was released over a year ago, while the Surface 3 came 
out in May of this year. While the Pro machine has more raw power, the Surface 
3 has the benefit of an additional year's worth of RD, which is a lifetime 
when it comes to these devices.

Also keep in mind that the Surface 4 Pro is expected in August.

Cheers,

- DJA
-
WEB: http://www.secretsocietymusic.org

On Jul 6, 2015, at 6:20 PM, Craig Parmerlee cr...@parmerlee.com wrote:

 I went through this evaluation myself and ended up in a completely 
 different place than I expected.  I found a video out there where a guy 
 benchmarked the Surface 3 against the Surface 3 Pro running a bunch of 
 DAW configurations.  Both machines ran these power-hungry DAWs 
 surprisingly well.  The Pro could do more extreme stuff, but I don't 
 think you will ever see a meaningful difference when running StaffPad.
 
 And ironically, the video seemed to actually recommend the cheaper 
 non-Pro model because the Pro model's CPU speed is unpredictable as 
 Intel keeps zapping it to give it a boost.  In heavy DAW applications, 
 you really want consistent performance, not necessarily the maximum peak 
 performance.
 
 And the reviewer noticed a real oddity, which was that the sound levels 
 coming out of the built-in speakers were about twice as loud on the 
 cheaper non-Pro.  Go figure.  The reviewer surmised that there was 
 probably some setting he needed to adjust.  I took some MIDI files into 
 Best Buy and tried them on both machines and sure enough, the cheaper 
 non-pro was MUCH louder.  It wasn't close. The basic Surface 3 sounded a 
 lot louder and a lot better.
 
 Obviously the Pro has a larger display.  For me, that larger display 
 makes it a little less pad-like so to speak.  If you are going to be 
 working a lot with StaffPad on scores where the display space is really 
 important, they I guess the Pro might be worth something, but I couldn't 
 see spending the extra bucks for a machine that, to me was LESS functional.
 
 I would definitely NOT recommend the 64GB.  That doesn't leave very much 
 room for OS and apps.  If you really think you will never do much more 
 than use StaffPad, then 64GB is OK.  But I would look seriously at 128GB.
 
 
 
 
 
 On 7/5/2015 2:53 PM, Robert Patterson wrote:
 For those of you out there using StaffPad, is the low-end Surface Pro 3 (i3
 64GB model) powerful enough to run StaffPad. My main interest in it is as a
 music reader and for StaffPad.
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Re: [Finale] OT: Low end Surface Pro 3 with StaffPad

[Robert Patterson]

FWIW: The StaffPad guy says it works great on the i3 Surface Pro 3. Also, I
figure if I need more storage than 64GB (and probably will) I can spend $25
on a micro SD card. I know the 4 might be announced next month, but who
knows when it would show up in the points store: probably many months from
now.


On Mon, Jul 6, 2015 at 6:31 PM, Darcy James Argue djar...@icloud.com
wrote:

 Keep in mind the Surface 3 is actually a much newer machine than the
 Surface 3 Pro — the Surface 3 Pro was released over a year ago, while the
 Surface 3 came out in May of this year. While the Pro machine has more raw
 power, the Surface 3 has the benefit of an additional year's worth of RD,
 which is a lifetime when it comes to these devices.

 Also keep in mind that the Surface 4 Pro is expected in August.

 Cheers,

 - DJA
 -
 WEB: http://www.secretsocietymusic.org

 On Jul 6, 2015, at 6:20 PM, Craig Parmerlee cr...@parmerlee.com wrote:

  I went through this evaluation myself and ended up in a completely
  different place than I expected.  I found a video out there where a guy
  benchmarked the Surface 3 against the Surface 3 Pro running a bunch of
  DAW configurations.  Both machines ran these power-hungry DAWs
  surprisingly well.  The Pro could do more extreme stuff, but I don't
  think you will ever see a meaningful difference when running StaffPad.
 
  And ironically, the video seemed to actually recommend the cheaper
  non-Pro model because the Pro model's CPU speed is unpredictable as
  Intel keeps zapping it to give it a boost.  In heavy DAW applications,
  you really want consistent performance, not necessarily the maximum peak
  performance.
 
  And the reviewer noticed a real oddity, which was that the sound levels
  coming out of the built-in speakers were about twice as loud on the
  cheaper non-Pro.  Go figure.  The reviewer surmised that there was
  probably some setting he needed to adjust.  I took some MIDI files into
  Best Buy and tried them on both machines and sure enough, the cheaper
  non-pro was MUCH louder.  It wasn't close. The basic Surface 3 sounded a
  lot louder and a lot better.
 
  Obviously the Pro has a larger display.  For me, that larger display
  makes it a little less pad-like so to speak.  If you are going to be
  working a lot with StaffPad on scores where the display space is really
  important, they I guess the Pro might be worth something, but I couldn't
  see spending the extra bucks for a machine that, to me was LESS
 functional.
 
  I would definitely NOT recommend the 64GB.  That doesn't leave very much
  room for OS and apps.  If you really think you will never do much more
  than use StaffPad, then 64GB is OK.  But I would look seriously at 128GB.
 
 
 
 
 
  On 7/5/2015 2:53 PM, Robert Patterson wrote:
  For those of you out there using StaffPad, is the low-end Surface Pro 3
 (i3
  64GB model) powerful enough to run StaffPad. My main interest in it is
 as a
  music reader and for StaffPad.
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Re: [Finale] OT: Low end Surface Pro 3 with StaffPad

[David H. Bailey]

On 7/6/2015 7:46 PM, Robert Patterson wrote:
 FWIW: The StaffPad guy says it works great on the i3 Surface Pro 3. Also, I
 figure if I need more storage than 64GB (and probably will) I can spend $25
 on a micro SD card. I know the 4 might be announced next month, but who
 knows when it would show up in the points store: probably many months from
 now.

I think you made a wise choice, Robert.  I bought the 128GB i5 model and 
immediately bought a 128GB microSD card.  I am using mine as a traveling 
laptop, so I have Office on it, WordPerfect, Sibelius, Finale and a 
bunch of other stuff.

I keep my data files on the microSD card and keep the programs in the 
main storage.

And I agree that the Pro model is the better one to get for musicians 
because reading PDFs of music is much easier with the larger screen.

I don't know what Microsoft has done that Apple can't seem to do, but 
the battery life on the Surface is much much better than on my iPad.

My one regret with the Surface is that the developers of ForScore, the 
music reading app that I use on my iPad have clearly stated that they 
will not be developing a Windows version.  Ever.  So I'm stuck using 
MusicReader on the Surface -- it's fine for the display of the music, 
turning pages, etc., but their library management isn't nearly as good 
as ForScore, in my opinion.

Enjoy your SurfacePro when it arrives, Robert!  And to get the most out 
of StaffPad, practice, practice, practice!  It gets easier to get the 
notation entered with time.  And you'll develop a workflow that works 
best for you, as we've all done with Finale and Sibelius.

-- 
David H. Bailey
dhbai...@davidbaileymusicstudio.com
http://www.davidbaileymusicstudio.com
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Re: [Finale] OT: Low end Surface Pro 3 with StaffPad

[Craig Parmerlee]

I went through this evaluation myself and ended up in a completely 
different place than I expected.  I found a video out there where a guy 
benchmarked the Surface 3 against the Surface 3 Pro running a bunch of 
DAW configurations.  Both machines ran these power-hungry DAWs 
surprisingly well.  The Pro could do more extreme stuff, but I don't 
think you will ever see a meaningful difference when running StaffPad.

And ironically, the video seemed to actually recommend the cheaper 
non-Pro model because the Pro model's CPU speed is unpredictable as 
Intel keeps zapping it to give it a boost.  In heavy DAW applications, 
you really want consistent performance, not necessarily the maximum peak 
performance.

And the reviewer noticed a real oddity, which was that the sound levels 
coming out of the built-in speakers were about twice as loud on the 
cheaper non-Pro.  Go figure.  The reviewer surmised that there was 
probably some setting he needed to adjust.  I took some MIDI files into 
Best Buy and tried them on both machines and sure enough, the cheaper 
non-pro was MUCH louder.  It wasn't close. The basic Surface 3 sounded a 
lot louder and a lot better.

Obviously the Pro has a larger display.  For me, that larger display 
makes it a little less pad-like so to speak.  If you are going to be 
working a lot with StaffPad on scores where the display space is really 
important, they I guess the Pro might be worth something, but I couldn't 
see spending the extra bucks for a machine that, to me was LESS functional.

I would definitely NOT recommend the 64GB.  That doesn't leave very much 
room for OS and apps.  If you really think you will never do much more 
than use StaffPad, then 64GB is OK.  But I would look seriously at 128GB.





On 7/5/2015 2:53 PM, Robert Patterson wrote:
 For those of you out there using StaffPad, is the low-end Surface Pro 3 (i3
 64GB model) powerful enough to run StaffPad. My main interest in it is as a
 music reader and for StaffPad.
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Re: [Finale] OT: Low end Surface Pro 3 with StaffPad

[Robert Patterson]

I ended up ordering the i3 64GB because I had enough credit card points to
get one without paying for it. (The only other one on offer was way beyond
my point total.) The 12 and the pen are what makes it attractive. I don't
expect to use this for more than browsing, email, StaffPad, music stand,
and Anki flash cards. Maybe also book reading. For all of those, a 12
screen is a major plus.


On Mon, Jul 6, 2015 at 5:20 PM, Craig Parmerlee cr...@parmerlee.com wrote:

 I went through this evaluation myself and ended up in a completely
 different place than I expected.  I found a video out there where a guy
 benchmarked the Surface 3 against the Surface 3 Pro running a bunch of
 DAW configurations.  Both machines ran these power-hungry DAWs
 surprisingly well.  The Pro could do more extreme stuff, but I don't
 think you will ever see a meaningful difference when running StaffPad.

 And ironically, the video seemed to actually recommend the cheaper
 non-Pro model because the Pro model's CPU speed is unpredictable as
 Intel keeps zapping it to give it a boost.  In heavy DAW applications,
 you really want consistent performance, not necessarily the maximum peak
 performance.

 And the reviewer noticed a real oddity, which was that the sound levels
 coming out of the built-in speakers were about twice as loud on the
 cheaper non-Pro.  Go figure.  The reviewer surmised that there was
 probably some setting he needed to adjust.  I took some MIDI files into
 Best Buy and tried them on both machines and sure enough, the cheaper
 non-pro was MUCH louder.  It wasn't close. The basic Surface 3 sounded a
 lot louder and a lot better.

 Obviously the Pro has a larger display.  For me, that larger display
 makes it a little less pad-like so to speak.  If you are going to be
 working a lot with StaffPad on scores where the display space is really
 important, they I guess the Pro might be worth something, but I couldn't
 see spending the extra bucks for a machine that, to me was LESS functional.

 I would definitely NOT recommend the 64GB.  That doesn't leave very much
 room for OS and apps.  If you really think you will never do much more
 than use StaffPad, then 64GB is OK.  But I would look seriously at 128GB.





 On 7/5/2015 2:53 PM, Robert Patterson wrote:
  For those of you out there using StaffPad, is the low-end Surface Pro 3
 (i3
  64GB model) powerful enough to run StaffPad. My main interest in it is
 as a
  music reader and for StaffPad.
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Re: [Finale] OT: Low end Surface Pro 3 with StaffPad

[Craig Parmerlee]

Robert,

I think you will be very happy, especially considering the deal you got.

I set mine up as David did, with the MicroSD card being the D: drive for 
user files, and the in-board SSD being for the OS and apps.  I have used 
about 33GB of the on-board SSD, so if you aren't running loads of apps, 
your 64GB will be OK, even if Windows 10 makes the footprint a bit larger.

But an important point of clarification: the MicroSD card will be D: 
It does not add to the size of the C: drive.  So for practical purposes, 
you need to get the OS and apps to live on your C: drive.  I don't think 
that will be a problems given how you have described your usage.

If a person wanted to be really clever, they could install apps to the 
D: drive and also direct browser case and other big storage users to the 
D: drive.  But that would mean you would really need to leave the same 
MicroSD card installed all the time, which is OK for most people.

I have not installed Finale on the pad, but there is no reason why it 
should not run.  If you have big sound libraries, those should probably 
go on the MicroSD.




On 7/6/2015 7:46 PM, Robert Patterson wrote:
 FWIW: The StaffPad guy says it works great on the i3 Surface Pro 3. Also, I
 figure if I need more storage than 64GB (and probably will) I can spend $25
 on a micro SD card. I know the 4 might be announced next month, but who
 knows when it would show up in the points store: probably many months from
 now.



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Re: [Finale] OT: Low end Surface Pro 3 with StaffPad

[Chuck Israels]

I have done that already - an iPad and a nice but not strictly necessary 
special stand by RAT stands (a British company that makes what seem to me to be 
the best music stands) hold all the bass parts for my band.  Most of the time, 
it works pretty well, as I am able to put adjust the stand so that the iPad is 
close enough to see.  What I am not so crazy about - besides the small size, is 
how unreliable the foot pedal I use for page turns is.  I have not figured out 
what I am doing that makes it work sometimes, not others and then tempts me to 
overshoot and have to jump back.

Chuck


 On Jul 6, 2015, at 7:35 PM, Eric Dannewitz ericd...@jazz-sax.com wrote:
 
 Indeed. I’m so wanting to ditch the binder of tunes for gigs. 
 
 
 On Jul 6, 2015, at 7:34 PM, Chuck Israels cisra...@comcast.net wrote:
 
 If memory serves - there are rumors of a larger iPad for the fall, at which 
 point my use of ForScore for reading music will take a significant jump in 
 practicality.
 
 Chuck
 
 
 On Jul 6, 2015, at 5:25 PM, David H. Bailey dhbaile...@comcast.net wrote:
 
 On 7/6/2015 7:46 PM, Robert Patterson wrote:
 FWIW: The StaffPad guy says it works great on the i3 Surface Pro 3. Also, I
 figure if I need more storage than 64GB (and probably will) I can spend $25
 on a micro SD card. I know the 4 might be announced next month, but who
 knows when it would show up in the points store: probably many months from
 now.
 
 I think you made a wise choice, Robert.  I bought the 128GB i5 model and 
 immediately bought a 128GB microSD card.  I am using mine as a traveling 
 laptop, so I have Office on it, WordPerfect, Sibelius, Finale and a 
 bunch of other stuff.
 
 I keep my data files on the microSD card and keep the programs in the 
 main storage.
 
 And I agree that the Pro model is the better one to get for musicians 
 because reading PDFs of music is much easier with the larger screen.
 
 I don't know what Microsoft has done that Apple can't seem to do, but 
 the battery life on the Surface is much much better than on my iPad.
 
 My one regret with the Surface is that the developers of ForScore, the 
 music reading app that I use on my iPad have clearly stated that they 
 will not be developing a Windows version.  Ever.  So I'm stuck using 
 MusicReader on the Surface -- it's fine for the display of the music, 
 turning pages, etc., but their library management isn't nearly as good 
 as ForScore, in my opinion.
 
 Enjoy your SurfacePro when it arrives, Robert!  And to get the most out 
 of StaffPad, practice, practice, practice!  It gets easier to get the 
 notation entered with time.  And you'll develop a workflow that works 
 best for you, as we've all done with Finale and Sibelius.
 
 -- 
 David H. Bailey
 dhbai...@davidbaileymusicstudio.com
 http://www.davidbaileymusicstudio.com
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 Chuck Israels
 cisra...@comcast.net mailto:cisra...@comcast.net
 (360) 201-3434
 
 8831 SE 12th Ave.
 Portland Or 97202
 
 chuckisraelsjazz.com
 
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(360) 201-3434

8831 SE 12th Ave.
Portland Or 97202

chuckisraelsjazz.com

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Re: [Finale] OT: Low end Surface Pro 3 with StaffPad

[Craig Parmerlee]

Thanks, Darcy.

I hadn't even thought of that because I had no interest in pads until 
Staffpad came out.  previously I had an ASUS notebook with a 
touchscreen, which is halfway like a pad.  The Surface with keyboard 
cover is really nice.

Now that you mention it, I do remember that the 3 has only been 
advertised recently.  That explains the better speakers, I think.  One 
normally assumes the model XYZ Pro is better than the plain model XYZ, 
but it is not clear cut in this example.

I love this pad.  I think Microsoft really got it right this time.

I still mainly use desktops, but I use the pad for lots of stuff, I have 
LibreOffice on it for any kind of document work.  I use Evernote, which 
is integrated with my desktop and phone.  And I use the pad now for any 
music running through the PA system before shows or during breaks.  As 
it is a full function Windows machine, it has the full Media Player, so 
it is good for playing MIDI files, which I have done in a few solo or 
duo gigs.

Re: Staffpad, there was a new release last week, which seems nice.  It 
is coming along impressively.  I still find it too poor on recognition 
for me to use regularly, but I think that will come.



On 7/6/2015 7:31 PM, Darcy James Argue wrote:
 Keep in mind the Surface 3 is actually a much newer machine than the Surface 
 3 Pro — the Surface 3 Pro was released over a year ago, while the Surface 3 
 came out in May of this year. While the Pro machine has more raw power, the 
 Surface 3 has the benefit of an additional year's worth of RD, which is a 
 lifetime when it comes to these devices.

 Also keep in mind that the Surface 4 Pro is expected in August.

 Cheers,

 - DJA

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Re: [Finale] OT: Low end Surface Pro 3 with StaffPad

[Chuck Israels]

If memory serves - there are rumors of a larger iPad for the fall, at which 
point my use of ForScore for reading music will take a significant jump in 
practicality.

Chuck


 On Jul 6, 2015, at 5:25 PM, David H. Bailey dhbaile...@comcast.net wrote:
 
 On 7/6/2015 7:46 PM, Robert Patterson wrote:
 FWIW: The StaffPad guy says it works great on the i3 Surface Pro 3. Also, I
 figure if I need more storage than 64GB (and probably will) I can spend $25
 on a micro SD card. I know the 4 might be announced next month, but who
 knows when it would show up in the points store: probably many months from
 now.
 
 I think you made a wise choice, Robert.  I bought the 128GB i5 model and 
 immediately bought a 128GB microSD card.  I am using mine as a traveling 
 laptop, so I have Office on it, WordPerfect, Sibelius, Finale and a 
 bunch of other stuff.
 
 I keep my data files on the microSD card and keep the programs in the 
 main storage.
 
 And I agree that the Pro model is the better one to get for musicians 
 because reading PDFs of music is much easier with the larger screen.
 
 I don't know what Microsoft has done that Apple can't seem to do, but 
 the battery life on the Surface is much much better than on my iPad.
 
 My one regret with the Surface is that the developers of ForScore, the 
 music reading app that I use on my iPad have clearly stated that they 
 will not be developing a Windows version.  Ever.  So I'm stuck using 
 MusicReader on the Surface -- it's fine for the display of the music, 
 turning pages, etc., but their library management isn't nearly as good 
 as ForScore, in my opinion.
 
 Enjoy your SurfacePro when it arrives, Robert!  And to get the most out 
 of StaffPad, practice, practice, practice!  It gets easier to get the 
 notation entered with time.  And you'll develop a workflow that works 
 best for you, as we've all done with Finale and Sibelius.
 
 -- 
 David H. Bailey
 dhbai...@davidbaileymusicstudio.com
 http://www.davidbaileymusicstudio.com
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Chuck Israels
cisra...@comcast.net mailto:cisra...@comcast.net
(360) 201-3434

8831 SE 12th Ave.
Portland Or 97202

chuckisraelsjazz.com

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Re: [Finale] OT: Low end Surface Pro 3 with StaffPad

[Eric Dannewitz]

Indeed. I’m so wanting to ditch the binder of tunes for gigs. 


 On Jul 6, 2015, at 7:34 PM, Chuck Israels cisra...@comcast.net wrote:
 
 If memory serves - there are rumors of a larger iPad for the fall, at which 
 point my use of ForScore for reading music will take a significant jump in 
 practicality.
 
 Chuck
 
 
 On Jul 6, 2015, at 5:25 PM, David H. Bailey dhbaile...@comcast.net wrote:
 
 On 7/6/2015 7:46 PM, Robert Patterson wrote:
 FWIW: The StaffPad guy says it works great on the i3 Surface Pro 3. Also, I
 figure if I need more storage than 64GB (and probably will) I can spend $25
 on a micro SD card. I know the 4 might be announced next month, but who
 knows when it would show up in the points store: probably many months from
 now.
 
 I think you made a wise choice, Robert.  I bought the 128GB i5 model and 
 immediately bought a 128GB microSD card.  I am using mine as a traveling 
 laptop, so I have Office on it, WordPerfect, Sibelius, Finale and a 
 bunch of other stuff.
 
 I keep my data files on the microSD card and keep the programs in the 
 main storage.
 
 And I agree that the Pro model is the better one to get for musicians 
 because reading PDFs of music is much easier with the larger screen.
 
 I don't know what Microsoft has done that Apple can't seem to do, but 
 the battery life on the Surface is much much better than on my iPad.
 
 My one regret with the Surface is that the developers of ForScore, the 
 music reading app that I use on my iPad have clearly stated that they 
 will not be developing a Windows version.  Ever.  So I'm stuck using 
 MusicReader on the Surface -- it's fine for the display of the music, 
 turning pages, etc., but their library management isn't nearly as good 
 as ForScore, in my opinion.
 
 Enjoy your SurfacePro when it arrives, Robert!  And to get the most out 
 of StaffPad, practice, practice, practice!  It gets easier to get the 
 notation entered with time.  And you'll develop a workflow that works 
 best for you, as we've all done with Finale and Sibelius.
 
 -- 
 David H. Bailey
 dhbai...@davidbaileymusicstudio.com
 http://www.davidbaileymusicstudio.com
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 Finale@shsu.edu
 https://lists.shsu.edu/mailman/listinfo/finale
 
 To unsubscribe from finale send a message to:
 finale-unsubscr...@shsu.edu
 
 Chuck Israels
 cisra...@comcast.net mailto:cisra...@comcast.net
 (360) 201-3434
 
 8831 SE 12th Ave.
 Portland Or 97202
 
 chuckisraelsjazz.com
 
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Re: [Finale] OT: Low end Surface Pro 3 with StaffPad

[Robert Patterson]

Thanks for the clarification, Chuck. I frequently set up my windows systems
as you describe: with a D: drive for data and some apps. (Finale, for
example.) Although these days all my Windows installs are virtual. (The SP3
changes that, though.)

And I indeed understand the issue of the microSD not being an extension of
C: drive. Macs have the analogous situation.


On Mon, Jul 6, 2015 at 9:46 PM, Chuck Israels cisra...@comcast.net wrote:

 I have done that already - an iPad and a nice but not strictly necessary
 special stand by RAT stands (a British company that makes what seem to me
 to be the best music stands) hold all the bass parts for my band.  Most of
 the time, it works pretty well, as I am able to put adjust the stand so
 that the iPad is close enough to see.  What I am not so crazy about -
 besides the small size, is how unreliable the foot pedal I use for page
 turns is.  I have not figured out what I am doing that makes it work
 sometimes, not others and then tempts me to overshoot and have to jump back.

 Chuck


  On Jul 6, 2015, at 7:35 PM, Eric Dannewitz ericd...@jazz-sax.com
 wrote:
 
  Indeed. I’m so wanting to ditch the binder of tunes for gigs.
 
 
  On Jul 6, 2015, at 7:34 PM, Chuck Israels cisra...@comcast.net wrote:
 
  If memory serves - there are rumors of a larger iPad for the fall, at
 which point my use of ForScore for reading music will take a significant
 jump in practicality.
 
  Chuck
 
 
  On Jul 6, 2015, at 5:25 PM, David H. Bailey dhbaile...@comcast.net
 wrote:
 
  On 7/6/2015 7:46 PM, Robert Patterson wrote:
  FWIW: The StaffPad guy says it works great on the i3 Surface Pro 3.
 Also, I
  figure if I need more storage than 64GB (and probably will) I can
 spend $25
  on a micro SD card. I know the 4 might be announced next month, but
 who
  knows when it would show up in the points store: probably many months
 from
  now.
 
  I think you made a wise choice, Robert.  I bought the 128GB i5 model
 and
  immediately bought a 128GB microSD card.  I am using mine as a
 traveling
  laptop, so I have Office on it, WordPerfect, Sibelius, Finale and a
  bunch of other stuff.
 
  I keep my data files on the microSD card and keep the programs in the
  main storage.
 
  And I agree that the Pro model is the better one to get for musicians
  because reading PDFs of music is much easier with the larger screen.
 
  I don't know what Microsoft has done that Apple can't seem to do, but
  the battery life on the Surface is much much better than on my iPad.
 
  My one regret with the Surface is that the developers of ForScore, the
  music reading app that I use on my iPad have clearly stated that they
  will not be developing a Windows version.  Ever.  So I'm stuck using
  MusicReader on the Surface -- it's fine for the display of the music,
  turning pages, etc., but their library management isn't nearly as good
  as ForScore, in my opinion.
 
  Enjoy your SurfacePro when it arrives, Robert!  And to get the most out
  of StaffPad, practice, practice, practice!  It gets easier to get the
  notation entered with time.  And you'll develop a workflow that works
  best for you, as we've all done with Finale and Sibelius.
 
  --
  David H. Bailey
  dhbai...@davidbaileymusicstudio.com
  http://www.davidbaileymusicstudio.com
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  https://lists.shsu.edu/mailman/listinfo/finale
 
  To unsubscribe from finale send a message to:
  finale-unsubscr...@shsu.edu
 
  Chuck Israels
  cisra...@comcast.net mailto:cisra...@comcast.net
  (360) 201-3434
 
  8831 SE 12th Ave.
  Portland Or 97202
 
  chuckisraelsjazz.com
 
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 Chuck Israels
 cisra...@comcast.net mailto:cisra...@comcast.net
 (360) 201-3434

 8831 SE 12th Ave.
 Portland Or 97202

 chuckisraelsjazz.com

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Re: [Finale] OT: Low end Surface Pro 3 with StaffPad

[Houghton, Mark [wmh]]

Hi Robert,
As with anything computer-dependant, go for as much as you can afford while 
factoring in to that future developments of the app, which may require waiting 
for prices to shift in your direction as the app is liable to be more demanding 
in upgrades. I went for i7/8GB ram/ 512GB storage (for other working concerns 
also). This certainly has a refined smoothness with Staffpad, operationally.

Cheers, Mark

-Original Message-
From: finale-boun...@shsu.edu [mailto:finale-boun...@shsu.edu] On Behalf Of 
Robert Patterson
Sent: 05 July 2015 19:53
To: finale
Subject: [Finale] OT: Low end Surface Pro 3 with StaffPad

For those of you out there using StaffPad, is the low-end Surface Pro 3 (i3 
64GB model) powerful enough to run StaffPad. My main interest in it is as a 
music reader and for StaffPad.
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Re: [Finale] OT: Low end Surface Pro 3 with StaffPad

[David H. Bailey]

On 7/5/2015 2:53 PM, Robert Patterson wrote:
 For those of you out there using StaffPad, is the low-end Surface Pro 3 (i3
 64GB model) powerful enough to run StaffPad. My main interest in it is as a
 music reader and for StaffPad.


I'm afraid I can't answer that, but if you contact the people at 
StaffPad they will give you as honest an answer as they can. 
http://www.staffpad.net

I'm running StaffPad on the i5 128GB model, with no problems.  But that 
doesn't mean anything about whether it will run on the i3/64GB model.


-- 
David H. Bailey
dhbai...@davidbaileymusicstudio.com
http://www.davidbaileymusicstudio.com
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Re: [Finale] [OT] premiere 26-27 jun | berlin

[SN jef chippewa]

as long as you transpose it or change the clef, we'll call it an arrangement.

Darn! I'll be JUST missing Berlin by about 6000 
kilometers, but I'll be thinking of you. I will 
also be stealing that trombone notation and 
inserting it into one of my pieces. All I need 
now is a performer named Ruth. Right now I'm 
completely ruthless.



On Sat Jun 20, at SaturdayJun 20 7:51 PM, SN jef chippewa wrote:
   in case anyone here is in berlin next weekend i
  have a new piece being performed in the
  infektion! festival for new / experimental music
  theatre.

  event info:
  http://facebook.com/999776963380144

  some trombone notation:
   http://newmusicnotation.com/TEMPFILES/cabinet_01-tbn-exc.jpg


-- 

PREMIERE: cabinet de curiosités (2015)
http://facebook.com/999776963380144
LUX:NM in Infektion! festival 2015 -- fluxus reloaded
26+27 june | staatsoper am schillertheater | berlin
http://www.staatsoper-berlin.de/en_EN/repertoire/f-lux-nm-ensemble-lux-nm-sophia-simitzis.1052020

Épater la bourgeoisie... whatever. On the obsolescence of subversion
http://cec.sonus.ca/econtact/16_4/chippewa_subversion.html

Miniature Form in Electroacoustic and 
(Instrumental) New Music: A typology supported by 
an audio gallery in order to establish a 
conclusive definition of miniature form
http://cec.sonus.ca/econtact/16_3/chippewa_miniature.html

http://newmusicnotation.com/chippewa
http://www.facebook.com/neueweise


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