Ok, guys, I'm sorry, but I'm still confused (a congenital condition,
I assure you). Ok, so I'm working on a Fin File, and after a hard
day's work, I wish to back up said file. I insert a black disc in my
new iMac G5, give it a name, and move the file in question to the
disc. I burn it. Th
At 12:20 AM +0200 9/5/05, Johannes Gebauer wrote:
On 04.09.2005 22:28 Uhr John Howell wrote:
And the two gamba parts in Brandenburg 6 are certainly not virtuoso
parts, with the 2nd part very likely written for the Prince. As to
bowings, do we know for sure what Bach's bowings were? Is there a
On 5 Sep 2005 at 0:20, Johannes Gebauer wrote:
> On 04.09.2005 22:28 Uhr John Howell wrote:
> > And the two gamba parts in Brandenburg 6 are certainly not virtuoso
> > parts, with the 2nd part very likely written for the Prince. As to
> > bowings, do we know for sure what Bach's bowings were? Is
David W. Fenton wrote:
I don't quite understand the inclusion of Dover in that list. They
are a very different operation. They sometimes reprint editions that
are under copyright outside the US, and when they do so, they do it
with permission (I assume that means they've made a financial
arra
John Howell wrote:
I am curious whether the E.U. has regularized differences in copyright
law among its various countries, or whether that was already
accomplished through Berne, etc.
I think it was supposed to, but has not completely succeeded. For
example, while Germany, and I presume, Fr
On 22:28 Uhr John Howell wrote:
One of the most pitch-dependent instruments is the 18th century oboe.
Oboes at 415 sound baroque. Oboes at 440 don't. But all that
really means is that we have LEARNED to think of the tone quality of
oboes at 415 as being "baroque," even though we know perfect
On 04.09.2005 23:56 Uhr David W. Fenton wrote:
Well, I know for a fact that Dover reprints certain European editions
with permission of the European copyright holders (some of the Mozart
operas are in this class).
I have got the Dover Score of the Marriage of Figaro here. Taken from a
Peters
On 04.09.2005 23:52 Uhr David W. Fenton wrote:
"Closer to" is not the point -- the point is that 415 as the choice
for the lower pitch is not justified by historical evidence but by
modern practicality because A440 is the standard pitch and using a
lower pitch 1/2 step lower was an easy solutio
On 04.09.2005 22:28 Uhr John Howell wrote:
And the two gamba parts in Brandenburg 6 are certainly not virtuoso
parts, with the 2nd part very likely written for the Prince. As to
bowings, do we know for sure what Bach's bowings were? Is there an
autograph? I really can't remember.
For the Br
On 04.09.2005 23:35 Uhr David W. Fenton wrote:
Well, I'm quite well aware of where it comes from and that's why I
also know that it's a pragmatic solution to a problem that is much
more complex than most people are aware. When it is assumed that
everyone playing early music plays at 415, there'
On 4 Sep 2005 at 17:18, dhbailey wrote:
> David W. Fenton wrote:
>
> > On 4 Sep 2005 at 9:31, dhbailey wrote:
> >
> >>For instance, Hal Leonard has brought out a couple of fake books of
> >>obviously public domain material, either material old enough to be
> >>public domain but with known compos
On 4 Sep 2005 at 16:35, John Howell wrote:
> At 2:37 PM -0400 9/4/05, David W. Fenton wrote:
> >
> >I don't see the other reprint houses as being at all on the same
> >level -- they add nothing, and reprint without permission, as long as
> >it's not copyrighted in the US.
>
> You may be quite rig
On 4 Sep 2005 at 17:16, dhbailey wrote:
> Raymond Horton wrote:
>
> > David W. Fenton wrote:
> >
> >> I had forgotten about the green Kalmus covers -- I never owned any
> >> of those myself, but did use many of them from teachers. Then there
> >> are the newer eggshell green glossy covers (the o
On 4 Sep 2005 at 16:28, John Howell wrote:
> At 2:19 PM -0400 9/4/05, David W. Fenton wrote:
>
> >But I don't play Bach -- for one, he wrote not a whole lot of music
> >for gamba, and what he did write is *very* hard (I am reluctantly
> >concluding that Bach didn't know the gamba very well, becaus
John Howell wrote:
At 11:29 AM +0200 9/4/05, Johannes Gebauer wrote:
Furthermore I'd like to add: there are special copyrights in Europe
for publishing previously unpublished music. Even if a piece was
composed 500 years ago a publisher can claim the "publication rights"
which will, as far
The file is clearly truncated. I opened with an hexadecimal editor and it
shows the header in good shape but it ends before expected.
It starts with:
ENIGMA BINARY FILEFinale(R) 2005 Copyright (c) 1987-2004 MakeMusic! Inc.
Lo siento, Rafael, vas a tener que rehacer el trabajo.
Saludos, Javier.
Have in mind that a MIDI file only handle 16 channels, and provides no way
of expand that limitation.
Of course that does not explain the problem with the audio exporting.
Javier.
> It seems to be limited to the PC, as I haven't heard of any Mac users
> reporting it. But it looks like this is a
On 4 Sep 2005 at 21:55, [EMAIL PROTECTED] wrote:
> --- Ursprüngliche Nachricht ---
> Datum: 04.09.2005 20:19
> Von: finale@shsu.edu
> An: finale@shsu.edu
> Betreff: Re: [Finale] Re: Bach temperament
>
> > But I don't play Bach -- for one, he wrote not a whole lot of music
>
> I was not at all
David W. Fenton wrote:
On 4 Sep 2005 at 9:31, dhbailey wrote:
For instance, Hal Leonard has brought out a couple of fake books of
obviously public domain material, either material old enough to be
public domain but with known composers, or folk songs with no known
composer and also old enough
Raymond Horton wrote:
David W. Fenton wrote:
I had forgotten about the green Kalmus covers -- I never owned any of
those myself, but did use many of them from teachers. Then there are
the newer eggshell green glossy covers (the orchestral score series),
and I'd forgotten about those. I have
At 2:37 PM -0400 9/4/05, David W. Fenton wrote:
I don't see the other reprint houses as being at all on the same
level -- they add nothing, and reprint without permission, as long as
it's not copyrighted in the US.
You may be quite right about Dover. I included them because they
are, in fact
At 2:19 PM -0400 9/4/05, David W. Fenton wrote:
But I don't play Bach -- for one, he wrote not a whole lot of music
for gamba, and what he did write is *very* hard (I am reluctantly
concluding that Bach didn't know the gamba very well, because the
gamba sonatas really aren't like other advanced
--- Ursprüngliche Nachricht ---
Datum: 04.09.2005 20:19
Von: finale@shsu.edu
An: finale@shsu.edu
Betreff: Re: [Finale] Re: Bach temperament
> But I don't play Bach -- for one, he wrote not a whole lot of music
David,
I was not at all trying to disagree with you. I was merely trying to shed
Johannes Gebauer <[EMAIL PROTECTED]> wrote:
> In Europe there is also a copyright of the engraving itself, which I
> understand is not possible in the US. In Europe it is simply illegal
> to reprint an engraved page as long as it is in copyright (75 years?).
> It makes no difference whether it co
On Sep 4, 2005, at 7:33 AM, shirling & neueweise wrote:
finally got bit. macfin 2005r.1
snip
i use auto-save when working on the score, normally turn it off when
doing parts, and had simply forgotten taht this was one of the things
related to the bug and neglected to turn it off.
Thi
On Sep 4, 2005, at 12:27 PM, Johannes Gebauer wrote:
On 17:14 Uhr Randolph Peters wrote:
It usually is Shift-Command-S on a Mac.
and with 2k6 even Finale implements it.
in 2005, too (on Panther, at any rate.)
Christopher
___
Finale mailing li
On 4 Sep 2005 at 10:17, John Howell wrote:
> This graphic copyright has never existed in U.S.
> law, which may explain why the reprint houses like Kalmus, Dover, and
> Luck's are all located in the U.S. One can trademark a graphic such
> as a recognizable logo, but not copyright it.
I don't qui
On 4 Sep 2005 at 9:31, dhbailey wrote:
> For instance, Hal Leonard has brought out a couple of fake books of
> obviously public domain material, either material old enough to be
> public domain but with known composers, or folk songs with no known
> composer and also old enough to be public domain
On 4 Sep 2005 at 9:48, Johannes Gebauer wrote:
> On 5:11 Uhr David W. Fenton wrote:
> > When I ordered my own gamba I insisted that it be built for 440
> > rather than 415, since I'm convinced that 415 is not really
> > historically justified.
>
> It's actually quite simple: 415 was approximatel
Jef,
Autosave is not related to the file overwrite bug. In fact, autosave
can help you tremendously, because the most recently autosaved
version of your conductor score is probably okay.
- Darcy
-
[EMAIL PROTECTED]
Brooklyn, NY
On 04 Sep 2005, at 7:33 AM, shirling & neueweise wrote:
On 17:14 Uhr Randolph Peters wrote:
It usually is Shift-Command-S on a Mac.
and with 2k6 even Finale implements it.
Johannes
--
http://www.musikmanufaktur.com
http://www.camerata-berolinensis.de
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Finale mailing list
Finale@shsu.edu
http://lists.
Ray Horton wrote:
The only parts they dislike more are the old french parts with the
backward quarter rests for eighth rests and other difficulties.
John Howell wrote:
Actually it's backward eight rests for quarter rests. We ran into
that with the Saint-Saëns A Minor Cello Concerto last s
David W. Fenton wrote:
I had forgotten about the green Kalmus covers -- I never owned any of
those myself, but did use many of them from teachers. Then there are
the newer eggshell green glossy covers (the orchestral score series),
and I'd forgotten about those. I have no memory of brown Kalmu
At 9:46 AM -0400 9/4/05, Dennis Bathory-Kitsz wrote:
I take advantage of that pause by a kind of muscle memory that takes over
at the very beginning of that pause: A finger-practice of ALT-F-A ("Save
as..." by keyboard, never a mouse; I assume the Mac has a global "Save
as..." keystroke pattern)
At 07:33 AM 9/4/05 -0400, shirling & neueweise wrote:
>i use auto-save when working on the score, normally turn it off when
>doing parts, and had simply forgotten taht this was one of the things
>related to the bug and neglected to turn it off. crap.
I have not been bitten by these bugs in any
At 11:29 AM +0200 9/4/05, Johannes Gebauer wrote:
Furthermore I'd like to add: there are special copyrights in Europe
for publishing previously unpublished music. Even if a piece was
composed 500 years ago a publisher can claim the "publication
rights" which will, as far as I understand, give
At 9:50 AM +0200 9/4/05, Johannes Gebauer wrote:
On 5:34 Uhr John Howell wrote:
That is actually not surprising at all. Because U.S. copyright law
was based on date of first publication, and most European law was
based on the lifetime of the composer, a great many works were in
copyright in E
Johannes Gebauer wrote:
[snip]
I realize that, the way you explained things you couldn't make a
photocopy even if the original music is out of copyright.
Absolutely. Are you sure this would be different in the US? If you
brought out a new edition of a work by Bach, could anyone photocopy you
finally got bit. macfin 2005r.1
opened an orchestral score, a related extract score and two parts
which had already been extracted and did 3 measures of notehead
changes (using mass edit, partial measures) in all 4 documents. did
a save all. it's very late and i'm trying to remember the o
On 13:54 Uhr dhbailey wrote:
But if a person has one of those engraved/copyrighted editions where
no significant editorial additions were made to a public domain work
(e.g. a Bach organ prelude), is a person in Europe legally able to
make their own version using that copyrighted-for-engraving e
Johannes Gebauer wrote:
On 5:34 Uhr John Howell wrote:
That is actually not surprising at all. Because U.S. copyright law
was based on date of first publication, and most European law was
based on the lifetime of the composer, a great many works were in
copyright in Europe but in the public
On 9:50 Uhr Johannes Gebauer wrote:
In Europe there is also a copyright of the engraving itself, which I
understand is not possible in the US. In Europe it is simply illegal
to reprint an engraved page as long as it is in copyright (75
years?). It makes no difference whether it contains any edi
On 5:11 Uhr David W. Fenton wrote:
When I ordered my own gamba I insisted that it be built for 440
rather than 415, since I'm convinced that 415 is not really
historically justified.
It's actually quite simple: 415 was approximately the pitch that Bach
used in Leipzig for the church music. T
On 5:34 Uhr John Howell wrote:
That is actually not surprising at all. Because U.S. copyright law
was based on date of first publication, and most European law was
based on the lifetime of the composer, a great many works were in
copyright in Europe but in the public domain in the U.S. Not a
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