Here is an interesting document regarding "Satin Doll" in a copyright suit:
http://library.law.columbia.edu/music_plagiarism/042/042opinion.html
It seems the Strayhorn Estate wants a bigger piece of the royalties.
Cheers,
Andrew Homzy - Department of Music
Concordia University
Montreal, Quebec
Yes, there certainly is. I use two monitors, a 21 inch and a 17 inch. In
page view I set them one over the other (digitally, not physically) and can
see a whole 11x17 page at 100% with lots of room around the edges for
palettes. In scroll view, I set them side by side and can see many measures
a
On 2002/10/13 07:22 PM or thereabouts, Christopher BJ Smith
<[EMAIL PROTECTED]> intoned:
>> Again, this problem is easily avoided by using octave-transposing clefs for
>> octave-transposing instruments.
>>
>> - Darcy
>
>
> But that brings up another problem, which is that those instruments
> d
At 5:17 PM -0400 10/13/02, Darcy James Argue wrote:
>On 2002/10/13 04:23 PM or thereabouts, Christopher BJ Smith
><[EMAIL PROTECTED]> intoned:
>
>> I don't know whether this is universal, but the way I was taught when
>> writing concert-pitch scores, octave-transposing instruments such as
>> pi
As Darcy said- it seems to be a religious thing, or WindowsVMac, so can we
accept that- "you say tomayto, and I say tomarto- let's call the whole thing
off!!"
Each to his/her own, eh? Regards, Keith in OZ
___
Finale mailing list
[EMAIL PROTECTED]
http:
I have the opportunity to get an Nvidia Gforce4 MX440 Video card for
nothing and it supports Dual-Monitors. I was just wondering if there was
any benefit to this regarding Finale.
Thanks!
Jim Hale
---
'The OS Tells The PC What To Do With Itself" - Me, 1990
---
Visit Our MIDI & Digital Audio Webs
On 2002/10/13 04:23 PM or thereabouts, Christopher BJ Smith
<[EMAIL PROTECTED]> intoned:
> I don't know whether this is universal, but the way I was taught when
> writing concert-pitch scores, octave-transposing instruments such as
> picc, contrabassoon, glock, and double bass are written in the
David, of course you're right, that it is ambiguous
according to the middle-line stem reversal rule
(stems-down is _preferred_ anyway),
but IMO the majority rule, which applies primarily to
stem direction of chords, holds true also in this particular case.
Please note that Finale stems down also
At 6:09 PM +1000 10/13/02, helgesen wrote:
>Do advocates of non-transposed scores enjoy 6 or 7 leger lines in Picc,
>Glock, Bass Tuba, or ContraBassoon? are these 'acceptable' exceptions?
>Regards, Keith in OZ
Bass tuba is non-transposing, and they are as used to 6 ledger lines
below the staff
At 5:58 AM -0400 10/13/02, Darcy James Argue wrote:
>At any rate, there is an incredible amount of unreasonable prejudice against
>concert pitch scores. It's like the musical equivalent of speaking with a
>southern accent -- it's guaranteed to make people instantly assume you're an
>idiot. (This
At 6:00 AM -0400 10/13/02, Darcy James Argue wrote:
>On 2002/10/13 05:46 AM or thereabouts, Eden - Lawrence D.
><[EMAIL PROTECTED]> intoned:
>
>> Should I write the part as if it were a bass part and have the contra
>> pretend the part is in treble clef, or should I write in treble clef and
>>
Some time ago, someone found a 'Daily Warm Up Exercise' for saxohone* on
the internet, enhanced and clarified by Bill Spilka, collection of
Bernie Privin. I didn't keep the graphics (pdf?) file, I only have the
print. Do any of you have the file? Or know where I can find it?
Barbara Touburg
*for
At 03:10 PM 10/13/02 -0500, John Howell wrote:
>Are you suggesting that orchestral clarinetists don't have
>both A and Bb clarinets? Or that violists try to play their parts on
>violins? Or ... or what?
A least four real-life examples that have happened to me (in performance):
Right on #1! Amat
On 2002/10/13 07:48 AM or thereabouts, Jari Williamsson
<[EMAIL PROTECTED]> intoned:
> Darcy James Argue writes:
>
>> How do people generally prefer to see natural harmonics?
>>
>> 1) At pitch, with the circle (with a "Sul G" or whatever, where
>> appropriate).
>
> For the octave harmonic only
Dennis wrote:
>
>And in the real orchestra pit in East Bumstock, how many performances
>actually use instruments in the keys as specified in the score? Or even the
>instruments themselves as specified?
Huh Either I don't understand the intended humor, or that's a slightly
naive question. Ar
On 2002/10/13 03:17 PM or thereabouts, John Howell <[EMAIL PROTECTED]>
intoned:
> Only if you assume that we stupid Americans can only read treble and bass
> clefs. Remember that the moveable C clefs are also "concert pitch." You
> can't read them? Why not? Become fluent in reading all 9 mov
On 2002/10/13 09:45 AM or thereabouts, Andrew Stiller
<[EMAIL PROTECTED]> intoned:
> The difference is, as I explained (for the umpteenth time) in another
> post, that the use of bass clef is simply not obsolete. It is
> absolutely current in the areas where it has been traditional.
Look, Andrew
Darcy James Argue wrote:
>That is a trivial problem when using a concert pitch score
>(or score in C, or whatever you wanna call it). [...]
>The real problem are the horns, which will require either excessive ledger
>lines, or numerous clef changes, many of which will not be needed in the
>part.
>Dear Listers,
>
>What is the best way to write a Contralto Clarinet part for the average
>high school player?
>
>Should I write the part as if it were a bass part and have the contra
>pretend the part is in treble clef, or should I write in treble clef and
>apply an Eb transposition?
>
>Thanks.
On Sun, 13 Oct 2002, "Abel Korzeniowski" wrote:
> In itself, this would make not a big deal, but...
> that kind of symmetrical groups is
> IMMUNIZED TO PATTERSON BEAMS!
Unfortunately, Finale does not tell plugins the direction of stems. (Believe me,
I've requested it!) As a result, PB (and othe
Not so much an anomaly, but another controversy (at least in the horn world) is
the question of which octave the "Tenor Tuba" parts sound in. (These parts are
actually played on Wagner Tube by the 7th and 8th horn players.) Some people say
the Tenor Tubas should be in unison with the Bass Tubas. O
At 06:58 AM 10/13/02, Mark D. Lew wrote:
>At 11:47 PM 10/12/02, Colin Broom wrote:
>
>>Ok, I'll come clean. For reasons that are too uninteresting to explain,
>>I've been putting the Introduction of Part 1 of of Stravinsky's 'The Rite of
>>Spring' into Finale. Suffice to say it's related to
On 13.10.2002 14:43 Uhr, Dennis Bathory-Kitsz wrote
> At 01:16 PM 10/13/02 +0200, Johannes Gebauer wrote:
>> Just imagine the nightmare in the orchestra pit, when the
>> conductor asks "are you playing a B flat or a B natural there", and the
>> clarinetist starts trying to work out what the hell
On 2002/10/12 10:09 PM or thereabouts, Andrew Stiller
<[EMAIL PROTECTED]> intoned:
In this case, then, the bass clef is not non-standard, since any
professional bass clarinettist must have a mastery of that clef,
since numerous German works from the standard repertoire are so
notated.
Well
At 8:43 AM -0400 10/13/02, Dennis Bathory-Kitsz wrote:
At 01:16 PM 10/13/02 +0200, Johannes Gebauer wrote:
Just imagine the nightmare in the orchestra pit, when the
conductor asks "are you playing a B flat or a B natural there", and the
clarinetist starts trying to work out what the hell the cond
At 01:16 PM 10/13/02 +0200, Johannes Gebauer wrote:
>Just imagine the nightmare in the orchestra pit, when the
>conductor asks "are you playing a B flat or a B natural there", and the
>clarinetist starts trying to work out what the hell the conductor is talking
>about, "do you mean that C - (it is
Darcy James Argue writes:
> How do people generally prefer to see natural harmonics?
>
> 1) At pitch, with the circle (with a "Sul G" or whatever, where
> appropriate).
For the octave harmonic only (the one at the middle of the string), using it
on other harmonics is probably considered old-fas
All the major notation references I have seen state that notes beneath
the middle line of the staff have stems up, that notes above the middle
line have stems down and that notes ON the middle line can have their
stems go either way. In the case of beamed notes which straddle the
middle line,
At 06:09 PM 10/13/02 +1000, helgesen wrote:
>Do advocates of non-transposed scores enjoy 6 or 7 leger lines in Picc,
>Glock, Bass Tuba, or ContraBassoon? are these 'acceptable' exceptions?
All my scores since 1968 are only at concert pitch, except for
octave-transposing instruments (which are so
Write in treble clef and apply an Eb transposition.
Eden - Lawrence D. wrote:
Dear Listers,
What is the best way to write a Contralto Clarinet part for the average
high school player?
Should I write the part as if it were a bass part and have the contra
pretend the part is in treble clef, or
If the text was short, as in your example, I would always use
expressions and place them as measure expressions rather than note
expressions. Sorry.
I wonder if TGTools has such a utility. Other than seeing if that has
such a utility, I know of no easy way to mirror.
You can highlight and copy
On 13.10.2002 3:18 Uhr, David H. Bailey wrote
> Speaking as a conductor, I like to see in my score just what the player
> sees in the part. That way there is no confusion, I know exactly what
> the player is looking at and we can sort out any problem from there. I
> would hate to have the bass c
I've found a strange behavior:
if you have two beamed eight notes, laying respectively
on the 2nd and 4th line (example A),
Finale stems this figure down, which is preferable.
A:
-O--
--O-
now, try
String players,
How do people generally prefer to see natural harmonics?
1) At pitch, with the circle (with a "Sul G" or whatever, where
appropriate).
2) With the diamond notehead alone.
3) With the diamond notehead indicating the node plus a regular notehead
indicating the string, with the des
On 2002/10/13 05:46 AM or thereabouts, Eden - Lawrence D.
<[EMAIL PROTECTED]> intoned:
> Should I write the part as if it were a bass part and have the contra
> pretend the part is in treble clef, or should I write in treble clef and
> apply an Eb transposition?
The latter. (Unless, perhaps you
On 2002/10/13 04:09 AM or thereabouts, helgesen <[EMAIL PROTECTED]>
intoned:
> Do advocates of non-transposed scores enjoy 6 or 7 leger lines in Picc,
> Glock, Bass Tuba, or ContraBassoon? are these 'acceptable' exceptions?
Oh, come now. That is a trivial problem when using a concert pitch scor
At 11:47 PM 10/12/02, Colin Broom wrote:
>Ok, I'll come clean. For reasons that are too uninteresting to explain,
>I've been putting the Introduction of Part 1 of of Stravinsky's 'The Rite of
>Spring' into Finale. Suffice to say it's related to the lecturing work at
>University. So the bass cla
Dear Listers,
What is the best way to write a Contralto Clarinet part for the average
high school player?
Should I write the part as if it were a bass part and have the contra
pretend the part is in treble clef, or should I write in treble clef and
apply an Eb transposition?
Thanks.
Larry
[EMA
In a message dated 13/10/2002 00:33:35 GMT Daylight Time, [EMAIL PROTECTED] writes:
It seems to me that score-reading would be
simplified to a very great degree if all parts were written at actual pitch and
in the appropriate clef - and I have seen this done in some 20th-century scores.
I find
I agree totally. Parts should- nay- *must* be done for the convenience of
the players. If a conductor is not experienced enough to read the score in
transposed parts then work needs to be done - by them. After many years of
arranging I automatically- and unconsciously, transpose all parts, as seen,
I have 29 files, each with mirrored staves for
Bb, C, Eb, and Basss cleff transpositions
of musical examples. I want to add text-block
annotations to them.
I discover that text blocks that I add to the
master staff don't get mirrored.
*) Is there any way to achieve such mirroring?
*)
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