[Finale] Jazz font chord libraries
In Fin/Mac 2001d, I am unable to make my document produce chords in the Jazz font library. To be more precise, the name of the chord is in jazz font, but the rest--alterations and suffix are in Times. As always, under the Options pull down menu to "select default fonts" the dialogue box has the chord button and I have each configured as follows: Symbol: Jazzcord 24 plain Suffix: Jazz 14 plain Alteration: Jazz 24 plain I've tried switching each of the above to Jazzcord instead of Jazz, but the results remain the same. Can someone straighten me out? Thanks, Doug ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Turandot
on 7/24/03 9:05 AM, Herman S. Gersten at [EMAIL PROTECTED] wrote: > > On Thursday, July 24, 2003, at 05:34 AM, Javier Ruiz wrote: > >> It seems to be an empty page... :( >> >> >> Javier Ruiz > > Javier, > > The URL works properly. > > Turandot support wrote: >> The first version of Turandot is developed for Windows operating >> systems. >> Macintosh version of this software is not available yet but can be >> developed >> in case of larger amount of interest. > > Herman Gang, I'm not responding to create clutter, but to avoid further confusion. Sorry, Herman, but the page is NOT working properly. It IS a blank page for many web browsers, including my own Explorer 5.1 (Mac OS 9.2). However it does load just fine in Netscape 7.0. Thankfully, this sort of thing is rare these days, but still occurs occasionally. I have contacted Turandot about it. Best, Doug ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
[Finale] OT: Mac G5
It was unveiled at the Worldwide Developers Conference in San Francisco and there's plenty of stuff at Apple's web site. Here is a video and other info: http://www.apple.com/powermac/video/index.html Best, Doug ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT Interesting New Rock (was$US0.99 - your cut)
As this thread has gotten way off from the original discussion of the Apple iTunes store, I thought a subject change was in order. on 6/17/03 5:25 AM, David H. Bailey at [EMAIL PROTECTED] wrote: > I would venture even further to say that the envelope is constantly > being pushed, but with the totally fragmented FM radio market, the > non-existant AM radio market, and the total lack of variety shows on TV, > no single person has any clue as to the broader picture of "rock" music > unless he/she engages in a lot of personal research, buying lots of CDs > and sampling as much on-line radio as possible. And with the huge > number of indie bands out there, this is almost impossible to do in any > sort of organized manner and still have enough time to hold down a job > and get some sleep. Yes, and my students bring me plenty of stuff to listen to, so thankfully, I don't have to wade through all the flotsam and jetsam to hear it. And there's a lot of interesting stuff. But I was more referring to the type of development where we have "Eleanor Rigby" and "Tomorrow Never Knows" existing on the same album, created by a group that started out doing Little Richard covers. Or an entire album like Pet Sounds from a group that originally had changed a Chuck Berry song into a surfing anthem. I don't hear any pop musicians stretching that far during their careers these days, nor do I see an industry that would allow it (which is really the point.) Best, Doug ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] $US0.99 - your cut
on 6/16/03 8:52 AM, Andrew Stiller at [EMAIL PROTECTED] wrote: > About a decade ago a poll of dozens of top rock critics and scholars > voted it the worst rock song ever written. The problem is that it really isn't a rock song, or at least what we now consider rock. At that time, rock had begun to set itself on the course of really defining itself as the pretty simple form that it is today. The job was pretty much finished by the early '80's. *Of course* there are exceptions, but the envelope-pushing of the Beatles or Brian Wilson that was part and parcel of rock in the latter half of the 60's is almost completely missing today. Jimmy Webb, like Burt Bacharach, are now regarded as pop songwriters, not really rock, but those distinctions weren't made during those years in the '60's when everything coexisted on the radio. Doug ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT: MacArthur Park
Friends, I accidentally sent this to Darcy and he kindly notified me of my mistake. on 6/15/03 7:30 AM, Darcy James Argue at [EMAIL PROTECTED] wrote: > Hi Doug, > > [Dunno if this was another unintentional off-list post or not, but if > not, feel free to repost our conversation if you like.] > > On Sunday, June 15, 2003, at 02:27 AM, Doug Auwarter wrote: > >> on 6/14/03 9:42 PM, Darcy James Argue at [EMAIL PROTECTED] wrote: >> >>> "Hey Jude" came out in 1968, the same year as "MacArthur Park," but I >>> don't know the exact date of release, so I can't say whether it >>> predates "MacArthur Park" or not. But "Hey Jude" was a *huge* >>> number-one hit, much bigger than "MacArthur Park." There's no >>> question >>> that it was played (a *lot*) on AM radio, full-length and unedited, so >>> if in fact the single was released before "MacArthur Park," you'd have >>> to give The Beatles the credit for breaking the AM song-length >>> barrier. > >> I honestly don't remember which came first, though I'm thinking >> "MacArthur >> Park" predated "Hey Jude." > > > As I mentioned in my next post, I got curious and looked it up. > MacArthur Park was released a few months earlier. So your memory does > not fail you. > >> In any event, I well remember that the version of >> "Hey Jude" that AM radio played was absolutely not the full version--at >> least in these parts, as well as the West Coast (where I also was >> during >> that time) they faded the ending pretty quickly into the vamp. > > Bastards! I know the Beatles did not supply a shortened "AM radio" > version, so the fade-out was totally unauthorized (and, of course, > completely ruins the whole point of the song). Yeah but AM radio in the 60's...you know. > >> And I don't >> know that it was really a bigger hit, as far as the radio is concerned. >> MacArthur Park was huge. While it was in rotation, it owned AM radio. >> As >> much as I loved the song at that time, I got sick of it. I remember >> pushing >> another button on my car radio when it came on, only to find it >> playing on >> the other station too. > > Hah. The "Baby One More Time" of its day, perhaps. > > Anyway, in terms of number of singles sold, Hey Jude was a much bigger > hit. It also made #1 and stayed there for some time, while "MacArthur > Park" peaked at #2. (Perhaps it only *seemed* like it was everywhere). > > Did they always play the full 7+ minute MacArthur Park, or did they > ever fade that one out as well? I was actually on the West Coast for most of the "run" of MacArthur Park and perhaps the radio stations there were a little ahead of the "enlightenment" curve on these matters. I don't recall hearing a shortened version. I was back home in Kansas City for "Hey Jude" and remember the AM stations here hacking most of the end off of it. > I'm also curious whether you ever heard the full album version of > "Light My Fire" on AM radio. Never. > > Thanks for your reminiscence. In retrospect, it seems totally weird > that MacArthur Park was such a huge hit, as -- like I said -- the only > version you ever hear nowadays is Donna Summer's (and hers not that > often). I suppose, for curiosity's sake, I ought to track down the > original recording and check it out. > > - Darcy > I don't think I've ever heard the Donna Summer version, nor even the original since those days when it was on the radio. Ah the 60's. I'm not much for nostalgia, but as I said in another post, I really enjoyed watching the Beatles Anthology with my 16 year old daughter. She was pretty amazed. Best, Doug ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT: Alan Pollack's Beatles Page
on 6/15/03 7:47 AM, Darcy James Argue at [EMAIL PROTECTED] wrote: > My best guess is that John and Paul just intuitively gravitated towards > this stuff. They found these structural relationships interesting for > the same reason that a lay listener might find them interesting, > without being consciously aware of what's going on, or able to describe > it in technical terms. They just had really, really, really, really > good musical instincts. (And, as he says, a brilliant, sensitive > producer.) I quite agree. As much as I adore the Beatles (and I just got a refresher course--my 16 year old daughter is now a big fan so we watched the 8 volume anthology together) I find the later songs of Brian Wilson much more interesting from an analytical standpoint. He did it all pretty much by himself and there's a lot more going on "under the hood" from both compositional and arranging standpoints. Best, Doug ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
[Finale] Delete a page
Friends, Is there a way to simply remove a page? I'm preparing some teaching materials that have extensive text blocks and I need to simply delete the first page. I can't find how this might be done without messing everything else up. Thanks, Doug ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
[Finale] Problems with Speedy Entry (FinMac)
I'm using FinMac 2001d, iMac 450 DV+ 192megs ram. Suddenly, when I use Speedy entry (entering notes from the computer keyboard) the notes are entered an octave and a 6th lower than the cursor. It makes no difference whether using the numeric keypad or the numbers on the alphanumeric keyboard. I also cannot add accidentals to notes. What have I done? I can find nothing about this in the manual. Restarting does nothing. Thanks, Doug PS. I accidentally sent this to Darcy alone. Sorry, Darcy, for the duplicate! ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
[Finale] Opcode's OMS with OSX
Friends, A friend wanted to know, and since I'm not on OSX yet I couldn't say. Does OMS run properly in Classic on 10.2? If so, are there problems? Thanks, Doug ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] Finale scan question
on 3/16/03 10:19 AM, Johannes Gebauer at [EMAIL PROTECTED] wrote: > Not that I really want to open this can of worms, but are you sure that what > you want to do is legal? Seems to me that, as long as it's done for private use, you can do what you please with the material purchased on the CD-ROM. It would be the same as buying a CD of graphics images for private use. I purchased a downloadable photo that I used for Christmas cards and that was exactly the intent of the owners. Now if Hallmark cards started using those images for resale that would be something completely different. Best, Doug ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] TAN: Czech alphabet (WinFin 2000c)
on 3/9/03 7:16 PM, Dennis Bathory-Kitsz at [EMAIL PROTECTED] wrote: > For Windows, you need the Central European character versions of the fonts. > Current versions of Windows come with them, or you can get them from the > Microsoft site. (I don't have the URL, but that's where I got them. Search > for Windows core fonts.) > > All the Windows core fonts (Times New Roman, Arial, Tahoma, and some > others) come in these internationalized versions. You can then use the > Character Map to copy and paste, or if you just want Czech, here they are: Patsy, Just to amplify what Dennis said, you need to make sure that the font you are using for text has these symbols, as many do not, especially the Jazz Font in Finale. If you use one of those listed above and the symbols that Dennis provided you'll be just fine. If it is easier, you should be able to enter them the same way you do in WordPerfect, provided you use one of those fonts. Best, Doug ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] TAN Blessing or Curse in disguise?
on 3/4/03 4:15 PM, Andrew Stiller at [EMAIL PROTECTED] wrote: > For a little context, take a look at all the dismay expressed over > the technology of the 1920s (Ives's "phonographs and gasoline") by > lots of intellectuals back then who should have known better. Or all > the tooth-gnashing forty years ago about computers themselves. > Lejaren Hiller got put on Theodore Roszak's list of enemies of > humanity (in the back of _The Making of a Counterculture_) for his > computer-music work. Or when the Musicians Union outlawed the Hammond organ when it was introduced. Still, I agree with Robert's sentiments. Our fascination with technology too often has a downgrading effect on art. Ever noticed how, the more technologically "up-to-date" we try to make a music production, the more dated it sounds in five years? Best, Doug ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] TAN Blessing or Curse in disguise?
on 3/4/03 11:42 AM, Robert Patterson at [EMAIL PROTECTED] wrote: > I think we are in a decades-long cultural trend of fascination with > technology. My personal view is that the fascination is misplaced. Perhaps for > me, familiarity breeds contempt. But if that is so, then I foresee the culture > at-large eventually experiencing the same shift. Robert, While I agree with your sentiments, I'm not quite following the above paragraph. Shift to what? Care to expand? Thanks, Doug ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] TAN Blessing or Curse in disguise?
on 3/4/03 9:36 AM, Robert Patterson at [EMAIL PROTECTED] wrote: > Another way to think of it is this. The better technology gets at imitating a > human performance, the more discerning humans become at recognizing the fake. But what's fake? People have become so used to the sounds of drum machines and sequenced synth tracks that the genuine article sounds "weird" to them. This stuff has even invaded my precious bossa nova and there are lots of people who love the new "robot" versions. Yikes! Best, Doug ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] Mailing list behavior (was TAN: Sound recording)
on 3/2/03 12:08 PM, Johannes Gebauer at [EMAIL PROTECTED] wrote: > No problem. However, I think you are using Outlook Express 5 for Mac, aren't > you? In that case there is good news for you: > > Go to the Mailing list manager, open your Finale list settings, go to the > advanced options. Look at the lower part of the dialog, there you can set > Outlook to always reply to the list address. > > Works great, just like the old way! Johannes, What a great suggestion! And it looks like it should do exactly what you say, but after making the appropriate selections (always reply to list address) it still is behaving as it always did. Any further ideas? Thanks, Doug ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] TAN: Sound recording
As usual, I hit the "reply" button and it went to Johannes only. Perhaps I will one day get used to how this particular list/serv works. Sorry for the duplicate messages, Johannes! on 3/2/03 2:52 AM, Johannes Gebauer at [EMAIL PROTECTED] wrote: > When it works it's great - no copying from DATs to the computer, immediate > playback, even some editing during the sessions, you name it. When it fails > it's a disaster unless you have backup. As is true regardless of the format. I once was called back to redo a session because the ADAT machine kept trying to reinitialize the tapes every time one was reinserted into the drive. Later this was found to be because of defective tapes. Still, the scenario was similar to the one just recounted. Best, Doug ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] hard drive failure
on 2/10/03 6:52 PM, Bonnie Harris at [EMAIL PROTECTED] wrote: > (That is my beef with Apple--do they really have to not allow OS 9 to be > viable any more in order to sell computers? They are alienating their loyal > customers at the same time they're trying to get people to switch to Macs.) > Anyway, thanks for sympathy and good advice! Yes, Bonnie I totally agree. In spite of its beautiful interface, there's still too much missing--both from the OS and from people building Mac OS printers, scanners and the like. As long as this is the case, Macs should be able to boot onto OS 9 at a keystroke or two. Glad to hear your problems are over (at least most of them.) Best, Doug ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] hard drive failure
on 2/9/03 8:00 PM, Darcy James Argue at [EMAIL PROTECTED] wrote: > I am forwarding this post to the list on the assumption that Doug > didn't intend this as a private message. > > On Sunday, February 9, 2003, at 08:29 PM, Doug Auwarter wrote: > >> on 2/9/03 6:52 PM, Darcy James Argue at [EMAIL PROTECTED] wrote: >> >>> Hard >>> drives sometimes fail, that's just a fact of life.), that is extremely >>> easy and inexpensive to replace. >> But the havoc they wreak when they do isn't easy to deal with. This >> happened >> to me and it was a disaster. >> I now have an outboard LaCie drive on which I back-up everything on a >> daily >> basis (or at least every day that I do substantial work.) Another >> cost-effective solution is to back up your documents folder on a cd >> (or two >> or more, if necessary.) At their current price of about 20¢ apiece >> (when >> purchased in 100 count quantities) that's not much to spend for the >> security >> against data loss (and hair loss, appetite loss and all the rest.) >> Best, >> Doug >> >> > - Darcy Thanks, Darcy. I don't know if I'll ever get used to the "respond" conventions of this list. Best, Doug ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] 4/4 to 2/2
on 11/12/02 11:34 AM, Linda Worsley at [EMAIL PROTECTED] wrote: > I would "assume" the same, but anyone who makes that kind of meter > change without some clue as to tempo is not providing enough > information. I was taught (and always try) to always indicate new > (or same) tempo no matter what, when switching meters to a different > beat-note (like 4/4 to 2/2 or 2/4 to 9/8)... And even sometimes when > it stays the same. Exactly. I don't remember if I was ever given the rule cited by Tobias in college or elsewhere, but in my experience it's "pulse equals pulse" if the composer or arranger is too lame to leave out this important indication. So when going from 4/4 to 6/8, the quarter equals a dotted quarter; when going from 2/4 to 2/2, the quarter equals a half, etc. Best, Doug ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] Wish list item
>>> Does anybody else wish you could attach chords to slashes, without having >>> to fill the measure with rests first? << Oh yes, absolutely. Doug ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] How to get partial slash, partial regular notation?
on 10/14/02 11:19 PM, Crystal Premo at [EMAIL PROTECTED] wrote: > << In one of the stupid little things it does, it converts the whole thing > to slash or regular. How do I make it only convert part of the staff? >> > > Using the Staff Tool, select only the measures you wish to have appear as > slash notation (on my MAC: click the first one, shift click the last one) > and choose Slash Notation from the Apply Staff Styles menu. There's a > built-in shortcut you can use instead of the menu. On the MAC it's the > letter "S". You can use this with Select Partial Measures as well. I haven't been following this thread too closely, so I apologize if this has already been given, but the way I do this is to make quarter notes where I want slashes, then choose the special tools palette; double click the quarter note that you want to change to a slash, choose the note shapes tool and choose a slash note head, then the special stems tool and choose stemless notes. Voila--measures with both slashes and conventional notation. Best, Doug ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] RE: orchestral MIDI
on 7/18/02 11:19 AM, David W. Fenton at [EMAIL PROTECTED] wrote: > On 18 Jul 2002, at 1:08, Harold Steinhardt wrote: > >> What set me off, was my perceived insistence of others who feel, in >> the composing process, that a complete midi playback with every element >> accounted for is needed for their proofing purposes. > > Well, no one in this discussion, so far as I have read, has advocated > anything of the sort. > > What set you off was all in the baggage you brought to the discussion. Maybe not so far as *you* have read, but that's exactly the impression I got too. And this is something I find very irksome about this list. Some people are incredibly snippy and condescending to others and then accuse them of bringing *baggage* to a discussion. A little civility would go a long way on this list. Unruffling my feathers, Doug ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
[Finale] PDF from Mac OSX
>From the Apple web site: Being able to create PDF files is really handy, and Mac OS X lets you create them from any application. Here¹s how: Open a document you¹d like to save as a PDF, pull down the File menu, and choose Print. In the Print dialog, click the Preview button. Mac OS X will open the Preview application and display your document as a PDF. To save it, pull down the File menu once more, choose Save As PDF, and tell Mac OS X where you¹d like the PDF file saved. Anybody tried this? I'm curious how well it works and what are the disadvantages to using another dedicated piece of software like Acrobat or Ghostwriter to create PDF files. Doug ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] The "S" word again
on 7/9/02 12:44 PM, David H. Bailey at [EMAIL PROTECTED] wrote: > Anybody else want to deal with their piracy-prevention scheme? Not me! > No matter what the price! I completely agree. That's a complete showstopper! Doug ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] Help converting Macintosh files to Windows
on 6/29/02 2:46 AM, Noel Stoutenburg at [EMAIL PROTECTED] wrote: >> I've been using Zip disks for years and never had any problem. I'm glad to hear that. This seems to be the usual case, but with me it's been different. Over time the disks become corrupted, the computer almost always freezes when I eject a disk, and it was even causing printing problems. The Iomega tech support was horrible. They even suggested turning all my extensions off, then downloading new software from their website. I asked "How do you get on the internet with all your extensions turned off?" The reply: "Oh yeah...well...I don't know..." In view of the fact that my Windows machine can't read zip disks for my Mac, I can't use them to swap files between the two machines. For me, especially in light of the cheap cost and ease of use of CD-R's and CD-RW's, this is an expensive, antiquated piece of technology whose day is past. Doug ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT LONG: help with adult student
on 6/24/02 2:20 AM, Mark D. Lew at [EMAIL PROTECTED] wrote: > As far as I'm concerned, the only thing a teacher is good for is helping > the students learn how to accomplish what they want, not to tell them that > what they want is good or bad. Not long after I started teaching almost 30 years ago, I had a high school age drum student sign on for help in learning a very difficult snare drum solo for Kansas State Music Contest. He had never had any lessons and his skills were extremely modest. I told him that what he was wanting to do was an almost impossible task in light of the time to accomplish it. He replied that he felt he could do anything that he set his mind to; one could accomplish anything if they wanted it badly enough. All of us who teach are familiar with this self-affirmation "happy talk," and time proved what my instincts told me: "This kid has delusions of adequacy." But my liberal values vetoed my instinctive impulse to tell the kid I couldn't help him, so we muddled through about six weeks of drum lessons. When asked about his lack of practice, he said he wasn't able to practice very much because he had to work too many hours at his part-time job to pay for his brand new "kick-ass" SUV, but he was just as determined as ever to get this solo learned. Finally, when he had about a week left to go, he told me he wasn't going to take the solo to contest because "I hadn't motivated him sufficiently to learn it and that I had failed him as a teacher." (!!) I have since been a lot more direct with students about things like this. When a student's goals are clearly out of line with their abilities and time and desire to practice, I very directly communicate this to them and save us both further aggravation. Perhaps the terms "good" and "bad" are a little simplistic, but the idea behind the sentiment is spot-on. Doug ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] Re: conveying musical meaning
on 6/5/02 3:25 PM, Paul Delcour at [EMAIL PROTECTED] wrote: > you are forgetting that all > composers started with the lyrics, were inspired by them and set their > music according to the meaning of the words. What??!! This just is not the case. Perhaps you're speaking from a "classical" perspective, where a composer has a libretto from which to compose an opera. But among the better popular music composers, there is no strict regimen. Jobim's "Retrato em Branco e Preto" was the wordless "Zingaro" before Chico Buarque wrote the words. Many composers use a "scratch" lyric to compose a song until they can finalize a finished lyric. "Yesterday" was called "Scrambled Eggs" in just this manner. Doug ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] TAN - Help with class curricula
At 12:49 PM -0500 5/23/02, Jamin Hoffman wrote: The "History of Jazz" course should be a little easier. It's based on the Ken Burns video series, and uses the video a lot throughout the curriculum (which has already established). I'll weigh in with what others have said: The "Burns on Jazz" videos are pretty good until 1960, when they just drop the ball. The omissions are virtually encyclopedic. Look in on that link to the Jazz Institute of Chicago--"our own" Chuck Israels' insights are spot on. Doug ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] TAN - Help with class curricula
Title: Re: [Finale] TAN - Help with class curricula on 5/23/02 4:01 PM, Christopher BJ Smith at [EMAIL PROTECTED] wrote: www.jazzinstituteofchicago.org/jazzgram/ commentary/kenburns/contents.asp I just tried to access this to no avail. ??? Doug
Re: [Finale] Plea for help TAN
on 5/21/02 7:34 PM, David H. Bailey at [EMAIL PROTECTED] wrote: > Looks to me more like a Bbm7add4 in first inversion. OK, let's see. Db root/bass. In addition to the root, we need a 3rd: F (check), a fifth: Ab (check), a sixth: Bb (check), and a ninth: Eb (check). Voila! A Db 6/9! Or wait a minute! Maybe it's an Eb9sus in 3rd inversion... :-) Doug ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] Plea for help TAN
> - Original Message - > From: Tobias Giesen <[EMAIL PROTECTED]> > To: <[EMAIL PROTECTED]> > Sent: Tuesday, May 21, 2002 7:59 PM > Subject: RE: [Finale] Plea for help TAN > > >>> The trombone chord at the beginning of Pennsylvania >>> 6-5000 ... >> >> I think it's Eb, F, Ab, Bb over a Db in the bass. >> >> Cheers, >> Tobias A perfect example of the previously debated 6/9 chord. Doug ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] foreign characters within expression text
on 5/20/02 2:21 AM, Noel Stoutenburg at [EMAIL PROTECTED] wrote: > It's always available under "Keycaps" using the pull down Apple Menu. Pressing down on the Option key (and the option/shift keys for capitols) changes the keyboard layout graphic in the window that appears so one can see which keys are doing what.) I'll go ahead and list the diacritical keystrokes--it's pretty simple. Opt+e, then type the letter you want gives you a simple accent. Note: Most of these diacriticals only appear directly above the letter if you type a vowell. Otherwise, they appear before the letter. Opt+i, then type a letter gives you a ^ (circumflex) Opt+c gives you a ç cedilha--no other letter is typed. Opt+n, then a letter gives you ~ above the letter, for instance ã or ñ Opt+o, gives you ø, no other letter is typed Opt+u, then type a letter gives you ü, ä, etc. (umlaut) Opt+`, then type a letter gives you à, è, etc (grave accent) There are many other symbols available this way, such as the British Pound symbol, the Euro, various Greek letters, scientific symbols, etc. Doug ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] foreign characters within expression text
Title: Re: [Finale] foreign characters within expression text on 5/19/02 10:15 PM, [EMAIL PROTECTED] at [EMAIL PROTECTED] wrote: Here is the problem-du-jour...I'm trying to duplicate some French expression marks such as the following :"sans hate"...my problem, is that if I don't want general laughter coming from the orchestra, I need a circumflex over the 'a' in "hate" so that it means haste. Short of drawing them in, does anyone have a solution in how to get the foreign characters while typing in the create expression dialogue box? How about within the text tool, since there is no "symbol" box to click as in Word? Is the answer there to cut and paste from Word? PS I actually just performed the cut-and-paste from Word experiment and it does indeed work, even in the create expression box...the question is now, is there a slightly easier method than keeping my word processor on standby for French duty? You didn't mention the platform you're on. If you're on a Mac, you simply use the option key and various letters. On Windows, you configure your keyboard for various languages. If you're going to stay in that language, it's a little easier once thus configured. If you're jumping back and forth between English and another language, it's a pain. Let me know your platform and I'll give you the details. Doug
Re: [Finale] Finale Porn
on 5/19/02 7:47 PM, Dennis Bathory-Kitsz at [EMAIL PROTECTED] wrote: > None are really satisfactory. How 'bout that delete key? This discussion > has already exceeded the spam content, no? Of course, you're right. But it's a little more disturbing when I receive this through one of my list/serves. > > And why aren't you watching the X-Files finale? (Or is it too early out > there in KC?) Yep, too early. :-) Doug ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] Finale Porn
on 5/19/02 6:07 PM, helgesen at [EMAIL PROTECTED] wrote: > Once again I received a 'soft porn' e-mail, clearly marked [Finale]. This > one advertising a sex-chat room. In the recipients column was a whole heap > of addresses, all starting with "Fin..." e.g. Finishing touch (dry > cleaners?), Fingerstall, (manicurists?) etc so I suspect that someone has > got hold of a huge address list and is sending random porn adverts to blocks > of the list. Nobody else has mentioned this, which worries me a bit. No, > it's not my scene so I don't know how I qualify. Just lucky(?) I guess! > Anyone else getting this? Or are we too embarrassed to admit it? > Regards, Keith in OZ. > Yep, I got it too. And this was the first time anyone had invaded any of my list/serves. I have no idea how to prevent it, though. Anyone? Doug ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] TAN: Mac OS question
on 5/18/02 5:28 PM, Chuck Israels at [EMAIL PROTECTED] wrote: > I have always been thus advised, ...(to turn Virtual memory off)... and have always done so. So, just > out of curiosity, what does virtual memory do, and why would one ever > want it switched on, since all I ever hear is "switch it off?" > > No need for a voluminous answer. This is just a query so that I > might better understand how the Mac works. C'mon Chuck; you know better than that on this list! ;-) As has been noted, it's advisable to turn it off for serious audio work. But few people these days use it to have more than one program open. It's really a memory management tool that allows programs to launch faster and use less memory when running. I'm surprised that those of you who turn it off all the time don't get "out of memory" messages in certain programs, especially when exporting graphics into word processors or page layout programs. If this happens, quit the application, select it (one click), open "get info" from the "File" pull down menu, choose "memory" and assign more memory (usually about 3000k does the trick) to that application. In fact, there is usually a note at the bottom of the memory assignment window that tells you how much more you'll need if you turn off VM. I should add that I keep it on almost all the time and have never suffered ill effects. Doug ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] TAN: Mac OS question
on 5/18/02 10:26 AM, Johannes Gebauer at [EMAIL PROTECTED] wrote: > Speed: pretty similar, if anything a little slower. > Compatability: Fine with most software, I think I have come across a couple > of old Shareware utilities that don't work. All current software should run. > Stability: Much improved since 8.x. For me System 9.x has been the most > stable system my Mac has seen prior to OS X. The only crashes I get are > usually Microsoft software (this is not MS bashing, it is true). > Finale: No problems I can see. Aside from what Johannes mentioned (all true, btw) you get Sherlock 2, which is quite an improvement, a bunch of system/usability enhancements, and compatability with lot of newer software that needs OS 9. My computer guy swears that 9.0.4 is the best, though if you're looking to run OS X, it will need to be 9.1 or 9.2. I think that iTunes may only work with OS 9 or newer, and that's a pretty worthwhile program. The only software that consistently freezes my system is Realaudio. I should think OS 9 should be sufficiently responsive on a 300Mhz G3, but have plenty of RAM--at *least* 128 megs. Doug ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] Half-diminished chord? TAN
on 5/15/02 11:28 AM, John Bell at [EMAIL PROTECTED] wrote: > Diminished triad with minor 7th, eg BDFA. The chord symbol for that > is Bm7b5, sometimes written as B followed by an o with a diagonal > line through it. Exactly correct and simply put, John. The symbol you described which is often used for m7b5 looks like this: ø Doug ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] Doubling.
Title: Re: [Finale] Doubling. on 5/9/02 4:32 PM, [EMAIL PROTECTED] at [EMAIL PROTECTED] wrote: In a message dated 09/05/2002 16:29:01 GMT Daylight Time, [EMAIL PROTECTED] writes: Can't this work like the other lists I subscribe to--hit "reply" and it goes straight to the list, not to the person who posted the query? This system operates on a couple of lists to which I belong and has resulted in some very embarassing "private" messages being mistakenly sent to the entire list. Of course, so a little thought is involved in those situations where you want to respond *only* to the person, not the list. Seems to me the occurance of this is not nearly as frequent as posting a message to the list as a whole. Might we be dumbing things down a little just to accomodate the careless? Doug
Re: [Finale] dotted eighth rests
on 5/1/02 5:11 AM, Christopher BJ Smith at [EMAIL PROTECTED] wrote: > The way you are doing it is officially (according to what I learned) > correct, as your second example uses syncopated rests, which is a > no-no. > > For manuscript, I have told my students to avoid dotted rests > altogether, unless in triple metre. The heart of the issue is "for what purpose is this notation?" If it's a lead-sheet or something similar, the dotted eighth rest is preferable in both instances, as it clearly completes the beat. But in a more traditional format, there would be many who would turn up their noses. For me, the fewer things I have to read in the space of one beat, the better--I'd rather see a dotted eighth rest than a 16th followed by an 8th any day. Doug ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] TAN (very) - chord name
on 4/29/02 3:45 PM, Andrew Stiller at [EMAIL PROTECTED] wrote: > In fact, I would be leery myself of applying functional terms to rock > harmonies because IMO this is not a tonal music. Cadences, for > example, can be formed by just about any chord followed by the tonic. The same could be said of many modal approaches to jazz harmony. Just because the harmonic conventions are different than traditional dominant/tonic resolutions in no way negates the tonality of the music. It's perfectly obvious that there is a tonal center to any of this (rock) music. In fact, the problem is that in most instances, it's TOO obvious. Doug ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] Percussion-noteheads
on 4/26/02 10:13 AM, Doug Auwarter at [EMAIL PROTECTED] wrote: > Usually two groups (not counting timpani) will get the job > done. Assigning each its own staff would result in a score with 7 extra > staves just for percussion using the instrumentation provided in the initial > question. That wasn't too clear. I meant that in reference to the original question you would wind up with at least 7 extra staves. Assigning each group and timpani its own staff would result in only 3 or 4 extra staves at most. Also, if you wind up with 3 or 4 untuned percussion instruments in one group, don't be afraid of using a 2 or 3 line staff for that. It saves space and it's easy to see who's playing what. Doug ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] Percussion-noteheads
on 4/23/02 3:59 PM, Andrew Stiller at [EMAIL PROTECTED] wrote: > For classical music (wh. is what this is, I gather), do not use > different notehead shapes for percussion. Use normal noteheads and > place each different instrument on its own line, space, or staff. So now things become confusing. I said one thing, Andrew says another. I'm a percussionist and my response was what is customary in contemporary literature. Some instruments such as triangle and cymbals usually use "x" noteheads, others, such as the various drums and mallets do not. I would add that it's best to group them in Percussion I, Percussion II, etc. clearly labeling which instruments are in each group and providing a "map", and be attentive to doubling (unless you're writing something of Berliozian proportions.) Usually two groups (not counting timpani) will get the job done. Assigning each its own staff would result in a score with 7 extra staves just for percussion using the instrumentation provided in the initial question. Although there have been attempts at standardization, scoring for percussion is still a work in progress. Perhaps it would be best to visit a print music store and look at some scores and see for yourself. Doug ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] Percussion-noteheads
on 4/23/02 10:34 AM, Raimund Lintzen at [EMAIL PROTECTED] wrote: > percussion-instruments which are part of the percussion section > in a piece for symphonie-orchester and klezmer-band: > [Default Music Font: Maestro] > > Triangel > Tambourine > Mallets > Tubular Bell > Snare > Handbecken > Cymbal Triangle--Usually x's for quarters, eighths, 16ths, etc. Sometimes triangular shaped noteheads. For half's and whole--diamond shapes. Tamborine--either x's (more common) or conventional noteheads. Mallets--conventional notation Tubular bells (chimes) standard notation Snare--standard notation Handbecken (Crash cymbals) x's and diamond shapes for halfs and wholes. Cymbal--same as above. But be sure and label what instrument is playing what. Seldom will it be necessary to have a staff dedicated to each instrument. They should be grouped so that one person can cover more than one instrument, unless scoring makes this impossible. But the more players needed, the harder it will be to have the pieces performed. The above list is for symphonic literature. One uses the unusual shapes and symbols for solo repertoire that require one person to play several instruments at once. Each line and space of the staff is for one or more different instruments and different noteheads are used to further differentiate, especially when two instruments may occupy the same line or space. Tricky, no? Such is the way of contemporary percussion literature. The orchestral stuff is not nearly so complicated (for the most part.) Doug ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT again: importing Eudora settings
on 4/21/02 10:06 AM, Javier Ruiz at [EMAIL PROTECTED] wrote: > May I add: > Choice 4: > Use another free program that DO import your Eudora data, for example > Outlook Express. Which is a good suggestion. For my own idealistic reasons, I prefer to use non-Microsoft products whenever possible, but Eudora isn't supported by my internet provider's tech support, and there was too much about it that was confusing. So I use Outlook Express and when I have a problem, I use the (so far) excellent tech support of my internet provider (Road Runner.) Doug ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] BEIGE: *old* computer Q
>> From: Andrew Stiller <[EMAIL PROTECTED]> > > >> The auxiliary hard drive attached to my old computer just crashed. That is, >> if it is turned on, I can't get a desktop to appear, even if I boot from a >> CD. I backed the thing up 2 days ago, so info loss is not a problem, but I >> suspect there is nothing more wrong here than a simple software glitch that >> I might be able to fix if I could get the volume to mount. Any suggestions? Yes. Don't try too hard to fix it. A couple of weeks ago, my hard drive crashed, and in "fixing" it, I managed to write over the directory, rendering everything an unreadable, irretrievable mass of 1's and 0's. Take it to your computer guru and let him have at it. Doug ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] new computer...
on 4/19/02 3:39 PM, Andrew Stiller at [EMAIL PROTECTED] wrote: > I consider bizarre: why would anyone want to keep a document separate from > the application that created it? Because that's more in line with how people work nowadays. I used to feel exactly as you--I had word processing documents in the Wordperfect folder, lead sheats in the Finale folder, etc. But now that I work with so many more applications, I find it much easier to have everything in a documents folder divided into smaller folders. This way, all the promotional materials for my bands are in the folder for the band, not Photoshop, Wordperfect, or whatever. All my teaching docs are in one folder rather than divided between Finale and Wordperfect. It's really much quicker to find things. Doug ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] new computer...
on 4/19/02 9:04 AM, Andrew Stiller at [EMAIL PROTECTED] wrote: > Many thanks to all who responded to my iMac queries. I will use System 9, > and use Eudora instead of Apple Mail. Even System 9 is so foreign to me > that I have decided to get "iMac for Dummies" or some such volume. May I suggest "Mac OS9 The Missing Manual" by David Pogue? It's thorough and even fun to read. You can find out more at www.missingmanual.com Doug ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] new computer...
on 4/18/02 5:23 PM, Johannes Gebauer at [EMAIL PROTECTED] wrote: > Some will, some won't. But if you are working mainly in OS 9 why not boot in > OS 9? But be sure it's 9.1 or 9.2. Any version of 9.0.x isn't compatible with OSX. Doug ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] Concordance
on 4/16/02 8:45 AM, JD at [EMAIL PROTECTED] wrote: > on 4/16/02 4:20 AM, Philip Aker at [EMAIL PROTECTED] wrote: > >> http://darkwing.uoregon.edu/~hjowen/Mac.WinKeyboardShortcuts.pdf > > Hal, > > For some reason, every time I go to your link, Acrobat launches, but all I > get is a 12 page blank document. Anyone else having this problem? Nope. It looks good. Which web browser and platform are you on? (Mac OS 9 w/ Internet Explorer for me.) Also try clicking once where the body of the text would be, and/or on scrolling arrows (if any.) Doug ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
