[Finale] Happy 250th Birthday Mozart
At the risk of overstating the obvious (and a wee bit off topic), I wanted to wish everyone on the list a Happy Mozart's Birthday (250th to be precise). His music was my first exposure to classical music over 25 years ago. My love of Mozart hasn't diminished at all. In fact, I can't imagine the art of music, without thinking of Mozart. I wish all of you a great day! K. Patrick Clow ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Tablature question
Richard Yates écrit: When you say 'implode' are you getting all notes into one layer? Do that on a temporary staff, set all the stems up (or down and only then drag it to the tablature staff. All the simultaneous notes are then on the same stem. Then delete the temp staff. Thanks Richard. This works, indeed, but I was also wondering if it could be done keeping the voices in separate layers (for other reasons). Dennis You could set music spacing to do no avoiding of collisions, respace the music (so that all the layers line up vertically), then drag to the tab staff. Richard ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Happy 250th Birthday Mozart
He's all over the radio today, I'm very happy. Kim Patrick Clow wrote: At the risk of overstating the obvious (and a wee bit off topic), I wanted to wish everyone on the list a Happy Mozart's Birthday (250th to be precise). His music was my first exposure to classical music over 25 years ago. My love of Mozart hasn't diminished at all. In fact, I can't imagine the art of music, without thinking of Mozart. I wish all of you a great day! K. Patrick Clow ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] slurs system breaks
On 26 Jan 2006 at 23:09, dc wrote: Johannes Gebauer écrit: That is in obvious disagreement to the manual, and quite frankly, I don't believe it. So what does he say it is for? Actually, he's saying that this feature shouldn't be active for slurs in the present state because it does nothing. So he thinks it should be removed or grayed out of the menu. And that the manual should be changed. So he more or less agrees with you. So, basically, my initial assessment that this was a case of bad programming and neglect of bug fixes was correct. This is exactly the kind of thing that makes Finale more difficult to use than it ought to be (which is what I said at the time that I was told I was simply wrong about that). -- David W. Fentonhttp://dfenton.com David Fenton Associates http://dfenton.com/DFA/ ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] slurs system breaks
On 1/27/06, Johannes Gebauer [EMAIL PROTECTED] wrote: I meant, does this command have any effect on any smart shapes? Sure it does. Keep Horizontal straightens out hairpins and all smart lines. It might be harder to realize that this is necessary if you've got automatically constrain dragging turned on in the Program Options (like I do), since there's little chance that you'll actually end up with a line or hairpin that's *not* horizontal. If you're resizing a Smart Line with auto-constrain turned off, there's a large chance that it will not be perfectly horizontal, and this feature snaps it back to be parallel to the staff lines. -- Brad Beyenhof Real-time Finale discussion: http://www.finaleirc.com my blog: http://augmentedfourth.blogspot.com Silence will save me from being wrong (and foolish), but it will also deprive me of the possibility of being right. ~ Igor Stravinsky ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Happy 250th Birthday Mozart
http://news.yahoo.com/s/ap/20060127/ap_on_en_mu/music_mozart_birthday On 1/27/06, Barbara Touburg [EMAIL PROTECTED] wrote: He's all over the radio today, I'm very happy. Kim Patrick Clow wrote: At the risk of overstating the obvious (and a wee bit off topic), I wanted to wish everyone on the list a Happy Mozart's Birthday (250th to be precise). His music was my first exposure to classical music over 25 years ago. My love of Mozart hasn't diminished at all. In fact, I can't imagine the art of music, without thinking of Mozart. I wish all of you a great day! K. Patrick Clow ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] slurs system breaks
Also if you have Make Horizontal By Default checked in Smart Shape options, you'll never have a need for it either. I do a lot of cleaning up of old files and this comes in quite handy. On 1/27/06 8:19 AM, Brad Beyenhof [EMAIL PROTECTED] said this: On 1/27/06, Johannes Gebauer [EMAIL PROTECTED] wrote: I meant, does this command have any effect on any smart shapes? Sure it does. Keep Horizontal straightens out hairpins and all smart lines. It might be harder to realize that this is necessary if you've got automatically constrain dragging turned on in the Program Options (like I do), since there's little chance that you'll actually end up with a line or hairpin that's *not* horizontal. If you're resizing a Smart Line with auto-constrain turned off, there's a large chance that it will not be perfectly horizontal, and this feature snaps it back to be parallel to the staff lines. -- Brad Beyenhof Real-time Finale discussion: http://www.finaleirc.com my blog: http://augmentedfourth.blogspot.com Silence will save me from being wrong (and foolish), but it will also deprive me of the possibility of being right. ~ Igor Stravinsky ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] A question about file updates
On 1/27/06, dc [EMAIL PROTECTED] wrote: David Froom écrit: I have a colleague who has a lot of files made in Finale 98 on an OS9 old Mac. He just got FinMac 2006 on a new iBook with 10.4.4. The old files had Petrucci as default font. I showed him how to change the default font, one file at a time, to Maestro or Engraver. But 1) is there a better of faster way to do this? Batch treatment with Finalescript. 2) is there any reason or way for him to use Petrucci? The only reason would be liking the font, which I don't. If he does like it, though, he certainly can use it. Just skip step 1 above and install Petrucci if it isn't installed. 3) is there any way to continue to use the old files without converting? What do you mean by use? If you mean opening and printing (and even editing) them, certainly. If you mean saving the files after editing them, the answer is no. Dennis I believe that Finale leaves the old file unchanged, though you can write over it with if you use the same filename. After opening the old file (you don't even need to make any edits), when you hit save, you'll be prompted to choose a name. For my own sanity, I add the Finale version to the filename: sonata_06.mus. That leaves the old file and adds another one in the new Finale version. I think Dennis' suggestion to use Finalescript and change the font is the best idea. If he wants to preserve the old files unchanged, it may be easiest to make a copy of the files and put them in a different folder. Saving them to a CD would be a better plan then he can always get back to them. -Carolyn ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Happy 250th Birthday Mozart
At the risk of making enemies: I have already had enough of it. Mozart has been all that interests the music world since the year began, and by the looks of it, we'll have the same, very superficial Everyone loves MOzart thing until the end of the year. Last year was the 200th birthday of Fanny Hensel, probably the most influencial woman composer ever, and noone noticed. Same for Boccherini's bicentenary. This year is also the 150th anniversary of Robert Schumann's death, which sort of gets lost in all that Mozart Hype. This year is also the bicentenary of Michael Haydn's death, a much underrated composer, but he is a little unlucky to have died exactly 50 years after Mozart was born. Not that I don't like Mozart... Johannes On 27.01.2006 Barbara Touburg wrote: He's all over the radio today, I'm very happy. Kim Patrick Clow wrote: At the risk of overstating the obvious (and a wee bit off topic), I wanted to wish everyone on the list a Happy Mozart's Birthday (250th to be precise). His music was my first exposure to classical music over 25 years ago. My love of Mozart hasn't diminished at all. In fact, I can't imagine the art of music, without thinking of Mozart. -- http://www.musikmanufaktur.com http://www.camerata-berolinensis.de ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Happy 250th Birthday Mozart
One very important fact here is that the general public is exposed to classical music as they haven't since Pavaroti's heyday a decade or so ago. At 5:15 PM +0100 1/27/06, Johannes Gebauer wrote: At the risk of making enemies: I have already had enough of it. Mozart has been all that interests the music world since the year began, and by the looks of it, we'll have the same, very superficial Everyone loves MOzart thing until the end of the year. Carlberg Jones Guanajuato, Gto. MEXICO ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Happy 250th Birthday Mozart
Johannes Gebauer wrote: At the risk of making enemies: I have already had enough of it. Mozart has been all that interests the music world since the year began, and by the looks of it, we'll have the same, very superficial Everyone loves MOzart thing until the end of the year. Last year was the 200th birthday of Fanny Hensel, probably the most influencial woman composer ever, and noone noticed. Same for Boccherini's bicentenary. This year is also the 150th anniversary of Robert Schumann's death, which sort of gets lost in all that Mozart Hype. This year is also the bicentenary of Michael Haydn's death, a much underrated composer, but he is a little unlucky to have died exactly 50 years after Mozart was born. Not that I don't like Mozart... Johannes Not to mention that this is also the year that many fine LIVING composers will write masterpieces which will never be heard in public because of all the programming time given to Mozart. This is also the year in which some new wunderkind of composition is being born but she will never get the chance to hear most of her compositions performed because when she turns 20 the world will be celebrating the 270th anniversary of Mozart's birth, and when she turns 30 the world will be celebrating the 230th anniversary of Mozart's birth. And in between those years, her music won't be heard because the world will be celebrating anniversarys of Mozart's death. And of his first ingrown toenail. To say nothing of all those other megamilestones of long-dead composers' lives. It's time to get over it, let Mozart's music be programmed in moderation as all other music should be, and stop making such a fuss over someone just because he's been dead for so long! Like it's a surprise or something? It's time we start celebrating the LIVING composers, those who are chronicling OUR TIMES in their music, reflecting OUR LIVES in their art. -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Happy 250th Birthday Mozart
Really? The radio stations my childen listen to still are playing rap and rock with no mention of Mozart whatsoever. The Super Bowl won't be featuring the Rolling Stones singing Mozart's greatest songs. Where is the general public being exposed to classical music? Truly curious, David Carlberg Jones wrote: One very important fact here is that the general public is exposed to classical music as they haven't since Pavaroti's heyday a decade or so ago. At 5:15 PM +0100 1/27/06, Johannes Gebauer wrote: At the risk of making enemies: I have already had enough of it. Mozart has been all that interests the music world since the year began, and by the looks of it, we'll have the same, very superficial Everyone loves MOzart thing until the end of the year. Carlberg Jones Guanajuato, Gto. MEXICO ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Happy 250th Birthday Mozart
humble Sorry, Johannes! /humble :) But you are absolutely right though. Johannes Gebauer wrote: At the risk of making enemies: I have already had enough of it. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Guitar Harmonics
First post here -I hope this works! I'm writing an article on the use of (artificial) harmonics with the guitar in the style of Lennie Breau, and would like to use Finale screenshots for the illustrations. He was probably most famous for the harp-like scalar passages he achieved, but he also employed clusters created by fingering, say G, C, E, A (bottom up) and playing the G as a harmonic as a method of clustering the A and the G. I'm having trouble figuring out how to show this in Finale, the problem being to show two or more notes in the same staff, played at the same time, where the bottom note is a harmonic (sounding an octave higher). I also need to show this in (yech!)TAB. I've searched the Finale forum and see a few questions, but no replies. Can anyone here help me? Thanks, Keith Smith Calgary ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Happy 250th Birthday Mozart
O, but I don't have children (and am happy about it), and if I would have had them, they would only be allowed to listen to that kind of (music) in their rooms and preferably using headphones! Furthermore, they would have been exposed to classical (sorry, D B-K) music from before their birth, just like I was. Not that I don't like pop of jazz or jazz-rock, I just like classical more. As for public exposure: I think the situation in the Netherlands is different from the US. But don't ask me to go into that, because I simply don't know enough about it. Barbara dhbailey wrote: Really? The radio stations my childen listen to still are playing rap and rock with no mention of Mozart whatsoever. The Super Bowl won't be featuring the Rolling Stones singing Mozart's greatest songs. Where is the general public being exposed to classical music? Truly curious, David ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Happy 250th Birthday Mozart
At 1/27/2006 11:40 AM, dhbailey wrote: It's time we start celebrating the LIVING composers, those who are chronicling OUR TIMES in their music, reflecting OUR LIVES in their art. The trouble with LIVING composers is that they don't write music that the average concert goer wants to hear. You may not think that is a problem, but, in reality, the average concert goer likes to hear music they are familiar with. Phil Daley AutoDesk http://www.conknet.com/~p_daley ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Happy 250th Birthday Mozart
On 27.01.2006 Barbara Touburg wrote: humble Sorry, Johannes! /humble :) But you are absolutely right though. I certainly didn't mean you, I meant the general Mozart Hype this year. Johannes -- http://www.musikmanufaktur.com http://www.camerata-berolinensis.de ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Happy 250th Birthday Mozart
At the risk of making enemies: I have already had enough of it. At least around here, Dmitri Shostakovich's 100th birthday year is also getting attention, if not as much as Mozart's 250th. I just heard a wonderful performance of the 13th Symphony in Los Angeles when I was down there for NAMM. I'm looking forward to Rostropovich's upcoming visit to San Francisco to conduct two all-Shostakovich programs. Michael Good Recordare LLC www.recordare.com ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Garritan Jazz Bigband setup wizard?
A new finale inst. text file can be found at this link. It contains the new "lite" instruments in this library. SImply replace you existing Jazz inst. text file with this one. http://www.garritan.com/JABB/Finale/GarritanJazzinstrument.txt ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
RE: [Finale] Happy 250th Birthday Mozart
At 1/27/2006 11:40 AM, dhbailey wrote: It's time we start celebrating the LIVING composers, those who are chronicling OUR TIMES in their music, reflecting OUR LIVES in their art. The trouble with LIVING composers is that they don't write music that the average concert goer wants to hear. You may not think that is a problem, but, in reality, the average concert goer likes to hear music they are familiar with. Phil Daley Chicken, meet egg. Egg, chicken. How did this supposed average concert goer ever become familiar with any music, if they only listen to music they're already familiar with? Lee Actor Composer-in-Residence and Assistant Conductor, Palo Alto Philharmonic http://www.leeactor.com ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Happy 250th Birthday Mozart
Oh I don't know if Mozart getting all the attention today is *that* bad. With a steady diet of theRomantics (a lotof Beethoven) prior to 1950, Mozart was pretty rarely heard in the concert.And there wasn't any real significant recording efforts of large portions of his music until the late 1960s. Idomeneo wasn't performed at the Met here in New York City, until Luciano Pavorotti interceded with the management. Attention given to Mozart is no doubt a burden to some, but it's a recent development in the larger scheme. And yes it's sad that any composer is ignored, especially the one's you cited: in particular Michael Haydn (his Requiem Mass is a work of genius). I certainly hope those others neglected will eventually come to their own in terms of musical attention by the masses. Kim Patrick Clow On 1/27/06, Johannes Gebauer [EMAIL PROTECTED] wrote: At the risk of making enemies: I have already had enough of it. Mozarthas been all that interests the music world since the year began, and by the looks of it, we'll have the same, very superficial Everyone lovesMOzart thing until the end of the year.Last year was the 200th birthday of Fanny Hensel, probably the mostinfluencial woman composer ever, and noone noticed. Same for Boccherini's bicentenary.This year is also the 150th anniversary of Robert Schumann's death,which sort of gets lost in all that Mozart Hype.This year is also the bicentenary of Michael Haydn's death, a much underrated composer, but he is a little unlucky to have died exactly 50years after Mozart was born.Not that I don't like Mozart...JohannesOn 27.01.2006 Barbara Touburg wrote: He's all over the radio today, I'm very happy. Kim Patrick Clow wrote: At the risk of overstating the obvious (and a wee bit off topic), I wanted to wish everyone on the list a Happy Mozart's Birthday (250th to be precise). His music was my first exposure to classical music over 25 years ago. My love of Mozart hasn't diminished at all. In fact,I can't imagine the art of music, without thinking of Mozart. --http://www.musikmanufaktur.comhttp://www.camerata-berolinensis.de___ Finale mailing listFinale@shsu.eduhttp://lists.shsu.edu/mailman/listinfo/finale -- Kim Patrick ClowThere's really only two types of music: good and bad. ~ Rossini ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Happy 250th Birthday Mozart
There's much attention being paid to him over here too. Fortunately. Michael Good wrote: At the risk of making enemies: I have already had enough of it. At least around here, Dmitri Shostakovich's 100th birthday year is also getting attention, if not as much as Mozart's 250th. I just heard a wonderful performance of the 13th Symphony in Los Angeles when I was down there for NAMM. I'm looking forward to Rostropovich's upcoming visit to San Francisco to conduct two all-Shostakovich programs. Michael Good Recordare LLC www.recordare.com ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Happy 250th Birthday Mozart
On 27.01.2006 Carlberg Jones wrote: One very important fact here is that the general public is exposed to classical music as they haven't since Pavaroti's heyday a decade or so ago. I just cannot agree with this. All I hear all the time is gingles made out of Eine kleine Nachtmusik, very short and almost unrecognizable excerpts from the Requiem, and the unavoidable Queen of the Night. I think had Mozart foreseen his music used in this fashion, he would not have written it. It's dreadful how Mozarts birthday is taken as an excuse for some populist exposure to classical music. If it would get more people to visit a life concert, that's an excuse, but other than a few wanna-be popstars taking out their latest gown to the opera I don't actually see that happening. An enormous amount of money is spent on this birthday, which I agree could be a good thing. However, I am pretty sure the total amount of money spent on classical music is hardly different from last years, so one asks where the money came from. Which composer is starving because of Mozart's fame? Johannes -- http://www.musikmanufaktur.com http://www.camerata-berolinensis.de ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
RE: [Finale] Happy 250th Birthday Mozart
At 1/27/2006 12:39 PM, Lee Actor wrote: At 1/27/2006 11:40 AM, dhbailey wrote: It's time we start celebrating the LIVING composers, those who are chronicling OUR TIMES in their music, reflecting OUR LIVES in their art. The trouble with LIVING composers is that they don't write music that the average concert goer wants to hear. You may not think that is a problem, but, in reality, the average concert goer likes to hear music they are familiar with. Chicken, meet egg. Egg, chicken. How did this supposed average concert goer ever become familiar with any music, if they only listen to music they're already familiar with? Excellent point. I believe the original listening happens in the home. So, people hear the music that their parent's listen to. This puts modern composers off by 1 generation, just to start. But, if the children don't branch out, this becomes a multi-generational experience. When I was a young child, I absolutely wore out the 78RPM record my parents had of Tchaikovsky's Piano Concerto. My record collection consists primarily of Classical music written before 1900. Another big section is of 1940-50's big band. The only new composers I have are Hindemith and Ives. Oh, they wrote in the old style, right? In my Music Composition class (taught by Charles Whittenburg, some of you may recognize the name), my final composition was a very nice instrumental (we had to compose for the instruments that the class members played) fugue in the style of Bach, my favorite composer. My favorite recent CD purchase is Christmas Carols as written by Mozart. Mostly I buy CDs like Canadian Brass and other groups that play old music. Phil Daley AutoDesk http://www.conknet.com/~p_daley ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
RE: [Finale] Happy 250th Birthday Mozart
Title: Message Google (http://www.google.com/) has a Mozart logo today. If you click on that logo, it brings up a list of Mozart sites. Leti -Original Message-From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Kim Patrick ClowSent: Friday, January 27, 2006 7:18 AMTo: finale@shsu.eduSubject: [Finale] Happy 250th Birthday MozartAt the risk of overstating the obvious (and a wee bit off topic), I wanted to wish everyone on the list a Happy Mozart's Birthday (250th to be precise). His music was my first exposure to classical music over 25 years ago. My love of Mozart hasn't diminished at all. In fact, I can't imagine the art of music, without thinking of Mozart.I wish all of you a great day!K. Patrick Clow ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Happy 250th Birthday Mozart
It's time we start celebrating the LIVING composers, those who are chronicling OUR TIMES in their music, reflecting OUR LIVES in their art. The trouble with LIVING composers is that they don't write music that the average concert goer wants to hear. sigh. Several comments. 1) The second of these two statements is certainly not true here in Philadelphia. Eschenbach has been programming tons of new music this year (including a commission for Benjamin Franklin's 300th birthday), the Kimmel Ctr. is sold out, and there hasn't been a peep of complaint. Admittedly, this all wasn't true 6 years ago, but when the Millennium turned, the audience apparently decided that that dreadful modern stuff wasn't modern anymore, and therefore wasn't dreadful either. Happened virtually overnight, and I still haven't gotten over my surprise, relief, and disorientation. I am quite certain this phenomenon was not limited to Philadelphia, tho perhaps they haven't heard yet, out in the provinces. 2) The problem with the first of the quoted statements is that great music is not immediately diagnosable--by anyone, ever. It has to sit out there for decades and interact with the culture before what it is can be really known. Furthermore, the stature of any piece is to an important extent determined by the stature of its creator (minor Mozart gets more worshipful attention than better works by lesser composers), and the stature of any composer cannot be fully known until death--which in turn is why dead composers are more highly valued than living ones. It is possible for a composer to blow it late in life, as for example Milhaud did, so to a certain extent everything remains on hold as long as the composer is contributing new works. You may rail against this as unfair, but the situation is as it is. The very concept of masterpiece is intimately tied to the concept of master, and you can't have one without the other. Andrew Stiller Kallisti Music Press http://home.netcom.com/~kallisti/ ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
RE: [Finale] Happy 250th Birthday Mozart
-Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] Behalf Of Phil Daley At 1/27/2006 12:39 PM, Lee Actor wrote: At 1/27/2006 11:40 AM, dhbailey wrote: It's time we start celebrating the LIVING composers, those who are chronicling OUR TIMES in their music, reflecting OUR LIVES in their art. The trouble with LIVING composers is that they don't write music that the average concert goer wants to hear. You may not think that is a problem, but, in reality, the average concert goer likes to hear music they are familiar with. Chicken, meet egg. Egg, chicken. How did this supposed average concert goer ever become familiar with any music, if they only listen to music they're already familiar with? Excellent point. I believe the original listening happens in the home. So, people hear the music that their parent's listen to. This puts modern composers off by 1 generation, just to start. But, if the children don't branch out, this becomes a multi-generational experience. When I was a young child, I absolutely wore out the 78RPM record my parents had of Tchaikovsky's Piano Concerto. My record collection consists primarily of Classical music written before 1900. Another big section is of 1940-50's big band. The only new composers I have are Hindemith and Ives. Oh, they wrote in the old style, right? In my Music Composition class (taught by Charles Whittenburg, some of you may recognize the name), my final composition was a very nice instrumental (we had to compose for the instruments that the class members played) fugue in the style of Bach, my favorite composer. My favorite recent CD purchase is Christmas Carols as written by Mozart. Mostly I buy CDs like Canadian Brass and other groups that play old music. Phil Daley Remember how exciting it was when you first discovered pieces that later became some of your favorites? With the wide diversity of styles currently being employed in serious music nowadays, I think it's likely you can continue the rewarding experience of discovery, though admittedly not without some effort. For contemporary music with something of the traditional dramatic aesthetic that you enjoy in earlier music, I suggest with all due humility that you check out some of my stuff at http://www.leeactor.com/works.htm. I'm all for listening to what you like, but most living composers are just asking for a fair hearing. Lee Actor Composer-in-Residence and Assistant Conductor, Palo Alto Philharmonic http://www.leeactor.com ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Re: Guitar Harmonics
Keith, I worked with Lenny for about 8 years. I've written out a lot of his music and I remember agonizing over how to notate his harmonics. In general, I follow the guidelines for classic-guitar notation since Lenny's approach was close to classical technique. The harmonics are another matter. I use a diamond-shaped note head, written at the sounding pitch rather than the fretted pitch, to indicate the harmonic. Then I use the TAB with # to show where the the harmonic is fretted. I usually add a description of how Lenny would touch the string at the octave with the tip of his index finger and sound the harmonic with his thump (pick.) In your example, the G harmonic would be written as the G above the staff, with diamond note-head. The G would share a stem with the C, E, and A. Then the G harmonic would be shown in the TAB as 5 on the 4th string. To produce the harmonic, you would touch the 4th string at the 17th fret with the right, index fingertip while sounding the string with the thumb(pick.) In terms of workflow, I would enter the notation, drag it to the TAB staff, and then edit the G(TAB) down an octave. Then edit the note head (diamond) and finally add the in the TAB. You can use the same approach for the scale passages where Lenny alternates harmonics with regular notes. I can't tell if your (yech!)TAB comment refers to TAB in general or Finale's implementation of TAB. As for TAB in general, it's what guitarists expect and I don't think it makes much sense to insult the customer. As for Finale's implementation of TAB, it has several logical flaws that I'm sure you will encounter. Finale will put two notes on one string and you can't copy/paste your TAB edits. Sometimes, a note will be visible in the notation but invisible in the TAB. I just proof and edit to work around all of this. Keep in mind that Lenny developed his approach to harmonics without relying on either notation or TAB. Good luck with your article. Lenny was the best. John Knowles www.johnknowles.com *** Keith Smith [EMAIL PROTECTED] wrote: First post here -I hope this works! I'm writing an article on the use of (artificial) harmonics with the guitar in the style of Lennie Breau, and would like to use Finale screenshots for the illustrations. He was probably most famous for the harp-like scalar passages he achieved, but he also employed clusters created by fingering, say G, C, E, A (bottom up) and playing the G as a harmonic as a method of clustering the A and the G. I'm having trouble figuring out how to show this in Finale, the problem being to show two or more notes in the same staff, played at the same time, where the bottom note is a harmonic (sounding an octave higher). I also need to show this in (yech!)TAB. I've searched the Finale forum and see a few questions, but no replies. Can anyone here help me? Thanks, Keith Smith Calgary ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] OT: Congratulations!
Hi all, I wanted to send out a congratulations to our very own Don Hart for his Grammy Nomination! He has been nominated in the Best Instrumental Arrangement Accompanying Vocalist(s) category for his arrangement of Scary Things. Way to go Don! :-) -Karen ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] slurs system breaks
Even if your hairpins are horizontal by default, you may still need to check Make Horizontal Over System Breaks if you *move* one of the ends of the hairpin in page view. - Darcy - [EMAIL PROTECTED] http://secretsociety.typepad.com Brooklyn, NY On 27 Jan 2006, at 9:19 AM, Brad Beyenhof wrote: On 1/27/06, Johannes Gebauer [EMAIL PROTECTED] wrote: I meant, does this command have any effect on any smart shapes? Sure it does. Keep Horizontal straightens out hairpins and all smart lines. It might be harder to realize that this is necessary if you've got automatically constrain dragging turned on in the Program Options (like I do), since there's little chance that you'll actually end up with a line or hairpin that's *not* horizontal. If you're resizing a Smart Line with auto-constrain turned off, there's a large chance that it will not be perfectly horizontal, and this feature snaps it back to be parallel to the staff lines. -- Brad Beyenhof Real-time Finale discussion: http://www.finaleirc.com my blog: http://augmentedfourth.blogspot.com Silence will save me from being wrong (and foolish), but it will also deprive me of the possibility of being right. ~ Igor Stravinsky ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Garritan Jazz Bigband setup wizard?
Good news! Thanks for posting this.BTW, for those worried about the (hefty) system requirements for JABB, the "Lite" instruments added to the Dec 2005 JABB update are more in line with the system requirements for regular GPO. Using the "Lite" JABB instruments, I can run a full big band (without drums) on my machine -- 1.42 GHz Mac mini -- with only occasional stuttering. - Darcy-[EMAIL PROTECTED]http://homepage.mac.com/djargonBrooklyn, NY On 27 Jan 2006, at 12:44 PM, [EMAIL PROTECTED] wrote:A new finale inst. text file can be found at this link. It contains the new "lite" instruments in this library. SImply replace you existing Jazz inst. text file with this one. http://www.garritan.com/JABB/Finale/GarritanJazzinstrument.txt___Finale mailing listFinale@shsu.eduhttp://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Happy 250th Birthday Mozart
On 27 Jan 2006, at 12:31 PM, Phil Daley wrote:At 1/27/2006 11:40 AM, dhbailey wrote:It's time we start celebrating the LIVING composers, those who arechronicling OUR TIMES in their music, reflecting OUR LIVES in their art.The trouble with LIVING composers is that they don't write music that the "average" concert goer wants to hear.Total bollocks.New Yorker music critic Alex Ross says much the same thing as David Bailey:Ignore MozartMozart did not come from nowhere. He was the product of a society that was avid for music on every level, that believed in the possibility of an all-encompassing musical genius. The society we live in now believes otherwise; we divide music into subcultures and subgenres, we separate classical music from popular music, we locate genius in the past. Today, a young man with Mozart's abilities would very likely labor in obscurity, and perhaps give up in frustration. As I once wrote, if Mozart were alive today, he'd be dead. If you really want to celebrate Mozart's world, Mozart's culture, Mozart's life, you would ignore the man himself and listen to music by a living composer. If you're not in the habit of doing so, I'd urge you to pay a little heed to contemporary music over the next few days or weeks. Buy a CD of a modern classic (say, Reich's Music for 18 Musicians, Ligeti's Lontano, Adams's Harmonielehre, Pärt's Tabula Rasa, Gubaidulina's Offertorium, or, for the radical-minded, Alvin Lucier's I Am Sitting in a Room or Lachenmann's Schwankungen am Rand). Better, get out of the technobubble and patronize a live concert: Juilliard's Focus! or the Golijov festival here in New York, the LAPhil's upcoming Minimalist Jukebox, a Berkeley Symphony premiere, a Boston Modern Orchestra Project concert, etc. Celebrate Mozart another day, when he's not being rammed down your throat. And, oh yeah, happy birthday, Wolfie. You don't look a day over 175.— Alex RossJanuary 27, 2006 | Permalink- Darcy-[EMAIL PROTECTED]http://secretsociety.typepad.comBrooklyn, NY___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Happy 250th Birthday Mozart
Andrew Stiller wrote: It's time we start celebrating the LIVING composers, those who are chronicling OUR TIMES in their music, reflecting OUR LIVES in their art. The trouble with LIVING composers is that they don't write music that the average concert goer wants to hear. sigh. Several comments. 1) The second of these two statements is certainly not true here in Philadelphia. Eschenbach has been programming tons of new music this year (including a commission for Benjamin Franklin's 300th birthday), the Kimmel Ctr. is sold out, and there hasn't been a peep of complaint. Admittedly, this all wasn't true 6 years ago, but when the Millennium turned, the audience apparently decided that that dreadful modern stuff wasn't modern anymore, and therefore wasn't dreadful either. Happened virtually overnight, and I still haven't gotten over my surprise, relief, and disorientation. I am quite certain this phenomenon was not limited to Philadelphia, tho perhaps they haven't heard yet, out in the provinces. 2) The problem with the first of the quoted statements is that great music is not immediately diagnosable--by anyone, ever. It has to sit out there for decades and interact with the culture before what it is can be really known. Furthermore, the stature of any piece is to an important extent determined by the stature of its creator (minor Mozart gets more worshipful attention than better works by lesser composers), and the stature of any composer cannot be fully known until death--which in turn is why dead composers are more highly valued than living ones. It is possible for a composer to blow it late in life, as for example Milhaud did, so to a certain extent everything remains on hold as long as the composer is contributing new works. You may rail against this as unfair, but the situation is as it is. The very concept of masterpiece is intimately tied to the concept of master, and you can't have one without the other. I agree with all you said, Andrew. But music must first get out there to then sit out there to stand the tests of time and taste and fashion to hopefully receive its just ranking along the greatness scale. Could you please list the 200-year-dead composers that Mozart had to compete with programming space? Could somebody please list the composer that everybody celebrated the 250th anniversary of his birth while Mozart was trying to find programming space? Or that he himself mounted concerts to honor? I don't mean just a list of composers who had been born 250 years before Mozart, but to whom actual programming space was given instead of peforming the music of Mozart and his contemporaries. How about composers who had been dead 50 years? Did they receive retrospective concerts? I don't think so. The musical world had moved on and was looking for fresh contemporary music to listen to. Not stuff they were already familiar with. The whole notion of playing music in public performance by composers who had died 200 years ago is something new, something foreign to Mozart's whole outlook on music, which was that music written by living composers should be heard. Mozart didn't expect to have to wait for 200 years before his music would be heard, and I think he would laugh at our notion of filling most of our programming time with music of composers 200 years dead. -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Happy 250th Birthday Mozart
Phil Daley wrote: At 1/27/2006 01:17 PM, Andrew Stiller wrote: You may rail against this as unfair, but the situation is as it is. The very concept of masterpiece is intimately tied to the concept of master, and you can't have one without the other. Absolutely. What an excellent explanation of the problem that modern composers face. Yup! Good thing Mozart didn't have to face that problem! -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Happy 250th Birthday Mozart
On Jan 27, 2006, at 3:35 PM, Darcy James Argue wrote: Buy a CD of a modern classic (say, Reich's Music for 18 Musicians, Ligeti's Lontano, Adams's Harmonielehre, Pärt's Tabula Rasa, Gubaidulina's Offertorium, or, for the radical-minded, Alvin Lucier's I Am Sitting in a Room or Lachenmann's Schwankungen am Rand). Hmm, a couple of those I'm not familiar with, particularly the Adams, the Gubaidulina, and the Lucier. Well, off to the CD store! Christopher ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Happy 250th Birthday Mozart
If you really want to celebrate Mozart's world, Mozart's culture, Mozart's life, you would ignore the man himself and listen to music by a living composer. If you're not in the habit of doing so, I'd urge you to pay a little heed to contemporary music over the next few days or weeks. Buy a CD of a modern classic Better, get out of the technobubble and patronize a live concert. . And, oh yeah, happy birthday, Wolfie. You don't look a day over 175. — Alex Ross I really like Alex Ross, but sometimes he's annoying. Mr. Ross offers wonderful advice, but I don't make his salary. Most concerts here in the New York City are, forget about it.They're out of my price range. Yes, I know about the few free concerts here, I attend themas often as possible.And most CDs aren't cheap either. I have limited discretionary income, so I'm sure as hell not taking a chance on a dud. Amazing to me, Mr.Rosswhined constantly when the BBC offered FREE downloads of Beethoven's symphonies. Obviously he's never had to live on a tight budget. Mr. Ross' post on Mozart strikes me like those peoplewe all seem to know: comeChristmas Day, they proclaim with erudite phrases that indeed every day is Christmas, so they won't bother celebrating it. But no matter how nicely they phrase it, they always seem to be kill joys. Thanks. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Garritan Jazz Bigband setup wizard?
OJ guys, I looked at this, and see an instrument list. What do I do with it?Copy it into MS word, or textedit, name it something, and put it in the components folder?Sorry for my ignorance, but a little specific instruction would be appreciated.TIA,ChuckOn Jan 27, 2006, at 12:28 PM, Darcy James Argue wrote:Good news! Thanks for posting this.BTW, for those worried about the (hefty) system requirements for JABB, the "Lite" instruments added to the Dec 2005 JABB update are more in line with the system requirements for regular GPO. Using the "Lite" JABB instruments, I can run a full big band (without drums) on my machine -- 1.42 GHz Mac mini -- with only occasional stuttering. - Darcy-[EMAIL PROTECTED]http://homepage.mac.com/djargonBrooklyn, NY On 27 Jan 2006, at 12:44 PM, [EMAIL PROTECTED] wrote:A new finale inst. text file can be found at this link. It contains the new "lite" instruments in this library. SImply replace you existing Jazz inst. text file with this one. http://www.garritan.com/JABB/Finale/GarritanJazzinstrument.txt___Finale mailing listFinale@shsu.eduhttp://lists.shsu.edu/mailman/listinfo/finale ___Finale mailing listFinale@shsu.eduhttp://lists.shsu.edu/mailman/listinfo/finale Chuck Israels 230 North Garden Terrace Bellingham, WA 98225-5836 phone (360) 671-3402 fax (360) 676-6055 www.chuckisraels.com ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Happy 250th Birthday Mozart
I can't wait until May 2013 when the premiers of The Rite of Summer, The Rite of Fall, and The Rite of Winter will occur on the first half of a concert to celebrate the 100th anniversary of a certain piece! I should say that I'm available for commissions... Ryan __ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Garritan Jazz Bigband setup wizard?
Title: Re: [Finale] Garritan Jazz Bigband setup wizard? Drop it into the Finale AU folder inside your application folder On 1/27/06 3:49 PM, Chuck Israels [EMAIL PROTECTED] said this: OJ guys, I looked at this, and see an instrument list. What do I do with it? Copy it into MS word, or textedit, name it something, and put it in the components folder? Sorry for my ignorance, but a little specific instruction would be appreciated. TIA, Chuck On Jan 27, 2006, at 12:28 PM, Darcy James Argue wrote: Good news! Thanks for posting this. BTW, for those worried about the (hefty) system requirements for JABB, the Lite instruments added to the Dec 2005 JABB update are more in line with the system requirements for regular GPO. Using the Lite JABB instruments, I can run a full big band (without drums) on my machine -- 1.42 GHz Mac mini -- with only occasional stuttering. - Darcy - [EMAIL PROTECTED] http://homepage.mac.com/djargon Brooklyn, NY On 27 Jan 2006, at 12:44 PM, [EMAIL PROTECTED] wrote: A new finale inst. text file can be found at this link. It contains the new lite instruments in this library. SImply replace you existing Jazz inst. text file with this one. http://www.garritan.com/JABB/Finale/GarritanJazzinstrument.txt ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale Chuck Israels 230 North Garden Terrace Bellingham, WA 98225-5836 phone (360) 671-3402 fax (360) 676-6055 www.chuckisraels.com ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] A question about file updates
On 1/27/06, dc [EMAIL PROTECTED] wrote: David Froom écrit: I have a colleague who has a lot of files made in Finale 98 on an OS9 old Mac. He just got FinMac 2006 on a new iBook with 10.4.4. The old files had Petrucci as default font. I showed him how to change the default font, one file at a time, to Maestro or Engraver. But 1) is there a better of faster way to do this? Batch treatment with Finalescript. That Finalescript should read: batch process folder //process subdirectories music font fontname lock systems note spacing save and append _2k6 close Next, just place all of the desired files in a folder (if some of the files are in subfolders of that folder, remove the // from the second line to process all files in the folder tree) and select that folder as the batch folder-- third button from the right in the inalescript pallette. Put the desired font in place of fontname and keep the quotes. Lock systems and note spacing are optional. I include them since changing the music font can mess up spacing, so these steps will make sure that measures-per-system remain the same but new spacing is applied to account for the change in noteheads. The next line saves the file with a new name (it adds _2k6 before the .mus) so that the original files are untouched, and then the file is closed and the next is opened. I would definitely recommend making a backup of all files before running the script on them, just in case anything untoward happens by chance. Hope this helps! -- Brad Beyenhof Real-time Finale discussion: http://www.finaleirc.com my blog: http://augmentedfourth.blogspot.com Silence will save me from being wrong (and foolish), but it will also deprive me of the possibility of being right. ~ Igor Stravinsky ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] A question about file updates
On 1/27/06, Brad Beyenhof [EMAIL PROTECTED] wrote: On 1/27/06, dc [EMAIL PROTECTED] wrote: David Froom écrit: I have a colleague who has a lot of files made in Finale 98 on an OS9 old Mac. He just got FinMac 2006 on a new iBook with 10.4.4. The old files had Petrucci as default font. I showed him how to change the default font, one file at a time, to Maestro or Engraver. But 1) is there a better of faster way to do this? Batch treatment with Finalescript. That Finalescript should read: Oh, and by the way... make sure he updates to 2006c (at least) before processing the files. -- Brad Beyenhof Real-time Finale discussion: http://www.finaleirc.com my blog: http://augmentedfourth.blogspot.com Silence will save me from being wrong (and foolish), but it will also deprive me of the possibility of being right. ~ Igor Stravinsky ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Re:Happy 250th Birthday Mozart
Johannes Gebauer [EMAIL PROTECTED] wrote: At the risk of making enemies: I have already had enough of it. Mozart has been all that interests the music world since the year began, Not in the UK. The BBC has been giving similar coverage to Shostakovich (b. 25 September 1906) since the beginning of the year. Today Mozart wins heavily, of course, but we have also had works by Antal Dorati and Takashi Yoshimatsu, who is too young to get into my Grove Concise Dictionary of Music. -- Ken Moore Musician and engineer ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Happy 250th Birthday Mozart
On 27 Jan 2006 at 13:17, Andrew Stiller wrote: [quoting David Bailey, unattributed:] It's time we start celebrating the LIVING composers, those who are chronicling OUR TIMES in their music, reflecting OUR LIVES in their art. [snip] 2) The problem with the first of the quoted statements is that great music is not immediately diagnosable--by anyone, ever. It has to sit out there for decades and interact with the culture before what it is can be really known. . . . I disagree with this, but it's very complicated, so I'll leave my reasons aside and move on to something I can more easily explain. . . . Furthermore, the stature of any piece is to an important extent determined by the stature of its creator (minor Mozart gets more worshipful attention than better works by lesser composers), . . . . In my opinion, this is a REALLY BAD THING, and something we should work very hard to avoid. Just because Mozart wrote it does not mean it's great music (however you define that). . . . and the stature of any composer cannot be fully known until death. . . That's a statement that assumes a lot about what we're talking about. It assumes a certain 19th-century, great master point of view, one that requires time to winnow out the chaff so that we end up with the Really Great Pieces of Music. As anyone who has spent any time looking at the minor composers will tell you, it's not so clear exactly why Bach is great and Rameau is only near great. Or why Telemann or Vivaldi are considered hacks by so many (they were both brilliant composers who wrote volumes of music in a variety of styles). Our modern definition of great music is circular, in that a few composers got picked as models (Mozart, Haydn, Beethoven, and this troika was in place by 1798, as evidenced by comments found in the first year of the Allgemeine musikalische Zeitung, for instance). Now, these are not bad models, since all three were extraordinarily gifted and versatile composers. But once they become the models, all other ways of approaching music fall by the wayside. The definitions of great music get reworked to correspond to how those composers wrote, and thus other composers (especially the really brilliant ones who had distinct and interesting musical styles of their own) can't measure up. This is going to happen any time you have a great composers model of music history, as opposed to a more historicist approach, looking more at what music was composed and played in any repertory at a given time. . . . --which in turn is why dead composers are more highly valued than living ones. It is possible for a composer to blow it late in life, as for example Milhaud did, so to a certain extent everything remains on hold as long as the composer is contributing new works. I don't think there is any requirement that our musical culture be structured in this fashion. You may rail against this as unfair, but the situation is as it is. The very concept of masterpiece is intimately tied to the concept of master, and you can't have one without the other. I vote for getting rid of both concepts and instead looking at what was there historically. If you do that, you find all sorts of interesting things that will be invisible to anyone wearing their Great Masterpieces glasses. -- David W. Fentonhttp://dfenton.com David Fenton Associates http://dfenton.com/DFA/ ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Happy 250th Birthday Mozart
On 27 Jan 2006 at 15:40, dhbailey wrote: The whole notion of playing music in public performance by composers who had died 200 years ago is something new, something foreign to Mozart's whole outlook on music, which was that music written by living composers should be heard. Well, that concept didn't develop long after Mozart's death. It was definitely in place by 1820-30 or so. And, of course, Bach was actually well-known to a lot of people, even those outside Leipzig, though a very limited repertory of his music, long before Mendelssohn's supposed revival. Bach performed Palestrina. Mozart knew quite a bit of music more than 50 years old even while still working in Salzburg, music that was part of the church tradition there. And he was involved in a circle of musicians in Vienna that were very interested in reviving older music (e.g., the Mozart arrangements of Handel). There also seems to have been significant interest in Vienna c. 1800 in older music, as evidenced by the Traeg catalogs, which listed substantial bodies of older music for sale, much of it not Viennese in origin. So, the idea that historical consciousness is entirely a modern concept is simply untrue. The major change is in the extent of the performance of older music. In Bach or Mozart or Beethoven's time, older music was known and performed, but was in the minority -- most of the performances were of newly-composed music. Today, the ratio is exactly backwards to the first half of he 19th century, with programming consisting primarily of old music, with the occasional leavening of new music. Of course, that's not quite as true as it once was. Ensembles like Eighth Blackbird don't perform much older music at all, and any number of groups dedicate themselves to performing new music almost exclusively (sometimes with a leavening of older music). It's the high-profile, big-budget organizations, like the big 5 orchestras and the major opera companies that tend to be musical museums. And, of course, the US is aberrant in comparison to European countries in this regard. Seems to me that things are not quite as cut-and-dried today or in the past as the rhetoric would have us believe. -- David W. Fentonhttp://dfenton.com David Fenton Associates http://dfenton.com/DFA/ ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Happy 250th Birthday Mozart
On 27 Jan 2006 at 12:31, Phil Daley wrote: At 1/27/2006 11:40 AM, dhbailey wrote: It's time we start celebrating the LIVING composers, those who are chronicling OUR TIMES in their music, reflecting OUR LIVES in their art. The trouble with LIVING composers is that they don't write music that the average concert goer wants to hear. I think you're about 30 years out of date on that commentr. You may not think that is a problem, but, in reality, the average concert goer likes to hear music they are familiar with. There was a point in all their lives that they weren't familiar with the music they know well now. For every piece of music and every composer, there's a first time. Those who refuse to listen to anything new and to stay with the familiar are not worth pursuing, in my opinion. I find that college-age students are *very* easy to interest in any kind of music, traditional classical, new music of all kinds, world music, even Schoenberg. They have very open ears and *like* to to hear new sounds. But who is trying to bring that music to them? They won't be getting it passively. When I've been teaching, I try to interest them in as many styles of music as possible, and I try to get them to think about what they are listening to, even if it's merely top 40. My experience is that once they start thinking, instead of just passively letting music wash over them, they find it easier to branch out into unfamiliar repertories. These young people aren't resistant at all. They often just don't know what's available. As to people who *do* resist anything but the familiar, I say forget them -- let them rot listening to the same old music played the same old way over and over again. They're mostly all nearly dead already. -- David W. Fentonhttp://dfenton.com David Fenton Associates http://dfenton.com/DFA/ ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Happy 250th Birthday Mozart
Unless, perhaps, one is trying to keep, say, a symphony orchestra in business. It may be that a line has to be walked between educating one's audience and providing enough literature within their comfort zone to keep them coming to concerts. It does no one any good to play Schoenberg to an empty house. Dean On Jan 27, 2006, at 2:34 PM, David W. Fenton wrote: As to people who *do* resist anything but the familiar, I say forget them -- let them rot listening to the same old music played the same old way over and over again. They're mostly all nearly dead already. -- David W. Fentonhttp://dfenton.com David Fenton Associates http://dfenton.com/DFA/ ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
RE: [Finale] Happy 250th Birthday Mozart
David- you really are very offensive sometimes. Anyone not of the same opinion as you is either stupid, un-educated or nearly dead. (Presumably that means any one older than you!) Accept it- everyone is not like the all-knowing, never wrong David Fenton. News flash-!! Peoples tastes vary!! No need to insult or belittle. Pull your neck in! Keith in OZ Keith Helgesen. Director of Music, Canberra City Band. Ph: (02) 62910787. Band Mob. 0439-620587 Private Mob 0417-042171 David Fenton wrote; As to people who *do* resist anything but the familiar, I say forget them -- let them rot listening to the same old music played the same old way over and over again. They're mostly all nearly dead already. -- David W. Fentonhttp://dfenton.com David Fenton Associates http://dfenton.com/DFA/ ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale -- No virus found in this incoming message. Checked by AVG Free Edition. Version: 7.1.375 / Virus Database: 267.14.23/243 - Release Date: 27/01/2006 -- No virus found in this outgoing message. Checked by AVG Free Edition. Version: 7.1.375 / Virus Database: 267.14.23/243 - Release Date: 27/01/2006 ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Re: Batch converting files
Hello, Thanks for the advice. I was asking about someone wanting to use FinMac98 files with Petrucci in FinMac06, which, I guess means switching from Petrucci to Engraver. I have never used Finalescript, and while I am pretty good at getting Finale to jump through hoops for me, I am hopeless and learning this kind of language. I read through the manual, looked at some examples, and am still in the dark. It seems that the first thing he should do is to put all the Finale files he wants to convert into a single folder. Then what? How does one write the script? What goes in it? Once written, how is it saved and launched? The script would open each file in turn, change the default font to Engraverfont, then save with the old name plus 06. I have the sense that I could spend a few dozen hours and, after a lot of frustration, maybe figure it out (or maybe not). But if it is as easy to use Finalescript as everyone says it is, I'm guessing someone could take 5 minutes and set me on the right path. Or should my friend just copy Petrucci and Petru from his old Sys/Fonts folder to his new Library/Fonts folder? Other than the horrible look of Petrucci, which doesn't bother him, is there anything wrong with this? I think he also wants to keep Petrucci because he has some things carefully laid out (shenker graphs, etc), and he dreads having to pour over each example looking for odd things that might have gone wrong in a font conversion. Thanks, David Froom On 1/27/06 11:55 AM, [EMAIL PROTECTED] [EMAIL PROTECTED] wrote: I think Dennis' suggestion to use Finalescript and change the font is the best idea. If he wants to preserve the old files unchanged, it may be easiest to make a copy of the files and put them in a different folder. Saving them to a CD would be a better plan then he can always get back to them. -Carolyn ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Garritan Jazz Bigband setup wizard?
Save As - GarritanJazzinstrument.txt and drop it in your Finale AU folder. - Darcy - [EMAIL PROTECTED] http://secretsociety.typepad.com Brooklyn, NY On 27 Jan 2006, at 4:49 PM, Chuck Israels wrote: OJ guys, I looked at this, and see an instrument list. What do I do with it? ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Happy 250th Birthday Mozart
Mr. Ross offers wonderful advice, but I don't make his salary. Most concerts here in the New York City are, forget about it. They're out of my price range. Yes, I know about the few free concerts here, I attend them as often as possible. And most CDs aren't cheap either. I have limited discretionary income, so I'm sure as hell not taking a chance on a dud. Well, I can sympathize, as I can't afford Lincoln Center either, but I can certainly afford Tonic or the Kitchen or the Stone. Or, of course, Zebulon, which offers up great new music without a cover charge every night. As for taking a chance on a dud, you take that chance every time you go to see music, and I would submit that you have at least as good a chance of hearing a dud at Lincoln Center. The only difference is that you would have shelled out a hundred dollars for the privilege. - Darcy - [EMAIL PROTECTED] http://secretsociety.typepad.com Brooklyn, NY ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Happy 250th Birthday Mozart
On 27 Jan 2006, at 7:02 PM, keith helgesen wrote: David- you really are very offensive sometimes. I often disagree -- vehemently -- with David Fenton, but he's right on the money here. If he's offensive, maybe it's because he touched a nerve? As to people who *do* resist anything but the familiar, I say forget them -- let them rot listening to the same old music played the same old way over and over again. They're mostly all nearly dead already. - Darcy - [EMAIL PROTECTED] http://secretsociety.typepad.com Brooklyn, NY ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
RE: [Finale] Happy 250th Birthday Mozart
No nerves touched- I quite enjoy music which I freely admit I often do not understand. I listen to it- and then- maybe- buy a CD and listen more. Maybe not. My choice! It's not so much the opinions I object to- it's the often insulting and demeaning manner in which they are delivered. To paraphrase- if you don't agree with my opinion, you should rot- because you are stupid, un-educated, and not worth a place in the company of *real* musicians (like DF)- but it doesn't matter- you'll be dead soon Charming! Cheers K Keith Helgesen. Director of Music, Canberra City Band. Ph: (02) 62910787. Band Mob. 0439-620587 Private Mob 0417-042171 -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Darcy James Argue Sent: Saturday, 28 January 2006 11:39 AM To: finale@shsu.edu Subject: Re: [Finale] Happy 250th Birthday Mozart On 27 Jan 2006, at 7:02 PM, keith helgesen wrote: David- you really are very offensive sometimes. I often disagree -- vehemently -- with David Fenton, but he's right on the money here. If he's offensive, maybe it's because he touched a nerve? As to people who *do* resist anything but the familiar, I say forget them -- let them rot listening to the same old music played the same old way over and over again. They're mostly all nearly dead already. - Darcy - [EMAIL PROTECTED] http://secretsociety.typepad.com Brooklyn, NY ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale -- No virus found in this incoming message. Checked by AVG Free Edition. Version: 7.1.375 / Virus Database: 267.14.23/243 - Release Date: 27/01/2006 -- No virus found in this outgoing message. Checked by AVG Free Edition. Version: 7.1.375 / Virus Database: 267.14.23/243 - Release Date: 27/01/2006 ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
RE: [Finale] Happy 250th Birthday Mozart
On 28 Jan 2006 at 11:02, keith helgesen wrote: David- you really are very offensive sometimes. I don't try to be. I just call it as I see it. In this case, I found the post that I was responding to highly offensive, myself, since it was quite insulting to present-day composers, blaming them for the lack of interest of some parts of the listening audience. I wasn't the only one who had problems with that statement. Anyone not of the same opinion as you is either stupid, un-educated or nearly dead. (Presumably that means any one older than you!) I suggest that you re-read my entire post, and read the last paragraph in context. I can't see how anyone could reach the conclusion above unless they were purposely ignoring the content of my post. If you do that, you'll see that age has nothing to do with my criticism. I was criticizing people of all ages (and backgrounds) who refuse to try anything different or new, just because it is unfamiliar. If you want to defend those people, go right ahead. But attacking me personally won't do anything to further the argument. And it's certainly not going to make me alter my posting style, which is exactly the same as it has always been, as long as I've been using the Internet (since 1994). Perhaps I'm a throwback to an older era when people spoke more plainly and forcefully, and did not hedge their opinions in an attempt to disguise significant disagreement and, I guess, avoid conflict. I have no problem with conflict -- I think it's healthy. If you don't, then just ignore my posts. Your blood pressure will probably remain in a healthier range and the list won't be crowded with complaints about style that completely ignore the arguments being put forward. -- David W. Fentonhttp://dfenton.com David Fenton Associates http://dfenton.com/DFA/ ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
RE: [Finale] Happy 250th Birthday Mozart
On 28 Jan 2006 at 11:51, keith helgesen wrote: To paraphrase- if you don't agree with my opinion, you should rot- because you are stupid, un-educated, and not worth a place in the company of *real* musicians (like DF)- but it doesn't matter- you'll be dead soon That's not by any means a fair paraphrase. If that's how you read it, then you have missed the entire context of the comment. Or are choosing to ignore it on purpose. I'm not interested in disputing with you, unless you want to change your approach to the discussion and address the actual content of my post instead of just complaining about the rhetorical style. -- David W. Fentonhttp://dfenton.com David Fenton Associates http://dfenton.com/DFA/ ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Happy 250th Birthday Mozart
A couple of weeks ago, I had a conversation with my brother, Marc Bauman, who is a producer for Live From Lincoln Center. He says that there is great difficulty filling the seats at all the LC venues, and many events are less than half full. Either few can afford the prices, or few are interested in the programs, or some of both. Marc, who works there every day, and is privy to as much inside dope as anyone, is not optimistic. There were many interesting subjects covered in this conversation, like the increasing tendencies towards small data streams rather than quality reproduction (video and audio - convenience, cell phones and iPods, rather than HDTV and SACD. Even CDs, limited in sound quality as many are, are more than most of the public seems to want), and the fact that the place there is money to spend on productions (Marc was referring then to B'way shows and the like) is Las Vegas - with something like 150,000 new people a week looking for entertainment. It does give one pause. Chuck On Jan 27, 2006, at 4:36 PM, Darcy James Argue wrote: Mr. Ross offers wonderful advice, but I don't make his salary. Most concerts here in the New York City are, forget about it. They're out of my price range. Yes, I know about the few free concerts here, I attend them as often as possible. And most CDs aren't cheap either. I have limited discretionary income, so I'm sure as hell not taking a chance on a dud. Well, I can sympathize, as I can't afford Lincoln Center either, but I can certainly afford Tonic or the Kitchen or the Stone. Or, of course, Zebulon, which offers up great new music without a cover charge every night. As for taking a chance on a dud, you take that chance every time you go to see music, and I would submit that you have at least as good a chance of hearing a dud at Lincoln Center. The only difference is that you would have shelled out a hundred dollars for the privilege. - Darcy - [EMAIL PROTECTED] http://secretsociety.typepad.com Brooklyn, NY ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale Chuck Israels 230 North Garden Terrace Bellingham, WA 98225-5836 phone (360) 671-3402 fax (360) 676-6055 www.chuckisraels.com ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Tablature question
Richard Yates écrit: You could set music spacing to do no avoiding of collisions, respace the music (so that all the layers line up vertically), then drag to the tab staff. I did try this, but it doesn't seem to affect the stems and hence the horizontal placement of the noteheads and the numbers in the tab. Or is there some setting I'm overlooking? Dennis We must be miscommunicating about the problem. look at this: http://www.yatesguitar.com/misc/Sample.pdf I was trying to get your score to look like the second staff, but I found that this was not necessary to produce the tab shown on the third staff. Those stems and tab numbers are all lined up correctly. What does your tab look like? Richard ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Happy 250th Birthday Mozart
Kim Patrick Clow wrote: At the risk of overstating the obvious (and a wee bit off topic), I wanted to wish everyone on the list a Happy Mozart's Birthday (250th to be precise). His music was my first exposure to classical music over 25 years ago. My love of Mozart hasn't diminished at all. In fact, I can't imagine the art of music, without thinking of Mozart. I wish all of you a great day! To paraphrase Tom Lehrer: I'd like to tip my hat to Wolfgang Mozart, who by the time he was my age had already been dead 34 years. cd -- http://www.livejournal.com/users/dershem/# ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Fenton...the throwback
Perhaps I'm a throwback to an older era when people spoke more plainly and forcefully, and did not hedge their opinions in an attempt to disguise significant disagreement and, I guess, avoid conflict. David No David, you're not a throwback. You're a very modern, rude person. Who puts down, with venom, anyone who you percieve as naive, wrong and/or computer illiterate. And you do this in the environment of the internet where bombast doesn't have to be backed up by any physical courage. And the trouble is that you're very smart and have lot's of knowledge to add to this forum. So it's a pity that I delete your posts 90% of the time. Mike Greensill www.mikegreensill.com ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
