Re: [Finale] rulers
FWIW, one of the features of Mac OS 10.5 is supposed to be a resolution-independent UI -- so that the menubar will always be, e.g., 1/4 tall, regardless of screen size and resolution. This is supposed to create uniform legibility for UI elements, even on displays with very small pixels. (Upthread, someone mentioned that the Mac standard is 72 dpi, which hasn't been true for many years now. DPI varies considerably from model to model, especially in the notebook line.) - Darcy - [EMAIL PROTECTED] http://secretsociety.typepad.com Brooklyn, NY ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Mass Copy in Finale 2006
Dear list, I just started using Finale 2006 for real work and discovered a disturbing new loss of functionality. In the mass mover tool, whenever you select a region and attempt to copy it to other staves you are greeted in every instance by an annoying dialog box that takes the place of the Items to Copy dialog in previous versions. I frequently copy the same material to several staves and having to click through this dialog box is a very annoying extra step, especially considering that the enter and return keys are on the opposite side of my PowerBook keyboard from the option key (which I hold down with the shift key to copy to another staff). Is there any way to turn off this annoying new feature so that opt-shift clicking on a staff will copy the material with the previous items to copy settings like it did in previous versions without having to hit enter or return to dismiss this dialog every single time? Brian ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Mass Copy in Finale 2006
Brian Hold down only the opt key as you click on the target measure. John On 31 Jan 2006, at 10:28, Brian Williams wrote: Dear list, I just started using Finale 2006 for real work and discovered a disturbing new loss of functionality. In the mass mover tool, whenever you select a region and attempt to copy it to other staves you are greeted in every instance by an annoying dialog box that takes the place of the Items to Copy dialog in previous versions. I frequently copy the same material to several staves and having to click through this dialog box is a very annoying extra step, especially considering that the enter and return keys are on the opposite side of my PowerBook keyboard from the option key (which I hold down with the shift key to copy to another staff). Is there any way to turn off this annoying new feature so that opt-shift clicking on a staff will copy the material with the previous items to copy settings like it did in previous versions without having to hit enter or return to dismiss this dialog every single time? Brian ___ 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] Mass Copy in Finale 2006
John Bell got it right - hold down just the Opt key to skip the dialogue box. Once I got this, things got a LOT faster! The dialogue box remembers your settings, which I REALLY like. The only big loss of functionality with the new copy behaviour (for me on Mac, dunno about PC) is that drag-and-drop between documents is now disabled, and copy-paste between documents doesn't copy everything, so you have to use Clip Files and INSERT them (not Replace Items from Clip File) to copy certain items between documents. And Carolyn Bremer, thank you for your answer about Clear Items, you were right on the money. Of course now that I think of it, clearing Entries WOULD clear the chords and lyrics anyway, so of course I can only clear those things separately when Entries is UNchecked. There is even a little yellow popup that tells me this when I mouse over the Entries button, so I have no excuse. Somebody at MakeMusic really got things right with this new copying behaviour. I know I've said it before, but this ranks up there with Staff Styles, Metatools, and Auto-placing expressions for helping productivity. Christopher On Jan 31, 2006, at 5:28 AM, Brian Williams wrote: Dear list, I just started using Finale 2006 for real work and discovered a disturbing new loss of functionality. In the mass mover tool, whenever you select a region and attempt to copy it to other staves you are greeted in every instance by an annoying dialog box that takes the place of the Items to Copy dialog in previous versions. I frequently copy the same material to several staves and having to click through this dialog box is a very annoying extra step, especially considering that the enter and return keys are on the opposite side of my PowerBook keyboard from the option key (which I hold down with the shift key to copy to another staff). Is there any way to turn off this annoying new feature so that opt-shift clicking on a staff will copy the material with the previous items to copy settings like it did in previous versions without having to hit enter or return to dismiss this dialog every single time? Brian ___ 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] Get rid of high prices and snootiness
On 1/31/06 5:30 AM, David Fenton wrote: So, Carl, yes you are exactly right. Get rid of high prices and snootiness, and classical music of every stripe flourishes. Er, when somebody pays the musicians so that the audience doesn't have to pay. Which gets us back to the US vs. Europe comparison, since in the US, public subsidy is relatively rare. Of course someone has to pay. The point is that if you get rid of the snootiness and demonstrate wide appeal, subsidy -- in our case, almost exclusively private -- is MUCH easier to come by. David Froom ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] rulers
On 31 Jan 2006 at 3:33, Darcy James Argue wrote: (Upthread, someone mentioned that the Mac standard is 72 dpi, which hasn't been true for many years now. DPI varies considerably from model to model, especially in the notebook line.) It's the base standard for web browser font rendering, so I'd assume there's still something about the implementation that is still tied to a set of parameters about the size of fonts. The fact remains that in default setups, Mac fonts display larger onscreen than Windows fonts by about the ratio of 72:96. Certainly there's plenty of variation on Windows machines, too, because of varying resolutions, but at whatever resolution you set your graphics card, when you go to set the base font size, Windows says that you're using 96dpi. But, of course, either way, it's the programmer's responsibility to get the parameters from the OS and set the size of objects onscreen in a rational fashion. This should mean that at 100%, the ruler should be a real inch onscreen, seems to me. -- 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] Maryland River Concert Series
On 1/31/06 5:30 AM, Ray Horton wrote: Including crap. We (Louisville Orchestra) played the Kenji Bunch piece with the Ahn trio last year, on our classical series, not our pops series. It is pure pop crap, just one bad rock cliche after another. The Ahn trio itself is a hoax - three attractive young Asian sisters (including one pair of twins) who play at barely above a good high school level, but amplify their mediocre playing so loud, and have their moves down so pat, (not to mention their necklines so low and their skirts so loose - not that there's anything WRONG with that), that they have have developed somewhat of a following. (I still can't get that god-awful cat-screech of an amplified violin sound out of my ear, now that you've reminded me of them!) Don't get me wrong - I am in favor of any sincere attempt at what you describe. snip Ray, I'm glad you wrote that follow-on sentence. And I'm glad you went on to describe fruitful collaborations. The River Concert Series here in Maryland had a great collaboration with Vonda Shepard last summer (I got to write the arrangements -- first time for me to venture into the arranging world, since I'm a straight-up classical composer, and it was a lot more fun than I thought it would be). She was paired with Bartok's Concerto for Orchestra -- a surprising and effective combination -- which, we discovered later, is one of her bass player's favorite pieces. The point of this series is to take chances, knowing it has a generous audience. Bunch is a serious composer with a solid background. I've heard respectable pieces by him in other contexts. He was suggested to the series by the Ahn trio, who, under the right circumstances, play a bit better than you suggest -- at least on their recordings. We do agree that they are VERY nice to look at! If history is any judge, most new works will have a very short life, as we all know. And we know you have to make room for the crap so some good stuff can come through. That's the big problem with premieres. And, whatever else you say about the Bunch -- in the context of a conversation that has included slinging arrows at composers who are accused of ignoring their audience -- he is clearly someone who knows what some in the audience want to hear (maybe, in some cases, to the extent of pandering? Or maybe he likes what he does? I prefer to hope for the latter). (David, do you remember our giant of a principal horn and his big sound? You should have heard him sing Ray Charles and David Clayton Thomas back then!) Are you referring to when you guys played a piece of mine? Yes, I do remember how great the horn solos sounded. Sounds like I should have included a singing part for him. Carl Dersham wrote: Sounds like a fun series! Does Don Patterson play with you guys? I don't know everyone in the orchestra. I am not officially affiliated with the series, but I am close to the main folks. Tell me about him. John Howell wrote: Is that Maryland series a Green Sheet gig? (If you don't know what I'm talking about, you won't know the answer!) The report said union scale, but didn't say union contract or union musicians. I know it is union scale. I'm virtually certain it is not Green Sheet. I know about Green Sheet because when I was a grad student at Columbia, we used Green Sheet to get players to do our new music at grad student concerts. I don't know if it is union contract. I do know that it is free-lance -- but since so many of the musicians choose this as their gig of choice, the membership of the orchestra (The Chesapeake Orchestra) has become pretty stable. David Froom ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Mass Copy in Finale 2006
copy-paste between documents doesn't copy everything, Are you talking about meas-attached shapes here? Is that what Fin06 doesn't copy that prior versions did copy? I had hoped MM was gonna restore that in a maintenance release, but perhaps not, huh? For me the biggest loss of functionality in the copy behavior is the loss of a quick way to toggle between copying everything and copying selected items. But I don't use Fin06 at all, except to test with, so I'm not the best person to comment. I've become such an addict of my Mass Copy plugin, that I doubt I would see much benefit from the copy/paste improvements in Fin06. Once you get past Mass Copy's rather idiosyncratic UI, it seems vastly superior to any partial-copying behavior built in to the program. I say this, admittedly, as the author, but I wouldn't have put the time into developing it if I hadn't personally felt the need for it. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Mass Copy in Finale 2006
Christopher Smith / 2006/01/31 / 07:08 AM wrote: John Bell got it right - hold down just the Opt key to skip the dialogue box. Once I got this, things got a LOT faster! My biggest pleasure with 2006 was this new Mass Mover (still can't remember the new name for this tool!) improvement, but I have been wondering why the above isn't Cmd key. Ever since Finale v1.0, Cmd has been the key to bypass dialog box. Does anyone know? -- - Hiro Hiroaki Honshuku, A-NO-NE Music, Boston, MA http://a-no-ne.com http://anonemusic.com ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Mass Copy in Finale 2006
On Jan 31, 2006, at 4:08 AM, Christopher Smith wrote: The only big loss of functionality with the new copy behaviour (for me on Mac, dunno about PC) is that drag-and-drop between documents is now disabled, Christopher, I just tried this, and it does work. It's a little dicey sometimes - slow drawing of the outline of the selected measures, but it is not disabled. and copy-paste between documents doesn't copy everything, so you have to use Clip Files and INSERT them (not Replace Items from Clip File) to copy certain items between documents. When you do this (I haven't tried it), does that mean that you add new measures into the target document? Do they appear before the selected insertion point? Somebody at MakeMusic really got things right with this new copying behaviour. I know I've said it before, but this ranks up there with Staff Styles, Metatools, and Auto-placing expressions for helping productivity. I agree that the copying behavior is much more consistent and understandable. Once I figured it out, it's been working well for me. Chuck 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] OT Contemporary music and anti-intellectualism [was: Happy 250th Birthday Mozart]
The Hovhaness reference confused me for a minute, because I was referring to living classical composers, of which he is not one, and of recently dead composers in a similar style--of which he is also not one. (Nothing against H., BTW; I think he's gotten a bad rap over the years). I'm not sure I understand why you don't think Hovhaness was a recently dead composer in classical style, since he died in 2000, and when find references to performances of his music it is by classical music groups, and the recordings are in the classical music section of the local retailers. sigh I was referring not to classical style, but to *contemporary* style (by which [and I shouldn't have to say this] I mean contemporary *classical* style). See, this is what happens when you misuse the word contemporary. When the word is gone, the thought is also gone--Fabricius. 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 - now Finale list vs D. F.
On Jan 30, 2006, at 9:08 PM, Raymond Horton wrote: Anyone else for calling an end to this and getting back to Finale and tangential musical discussions? Two things: 1) People who are deliberately rude do it because they wish to get a rise out of people, so as to validate their own existence. The way to control such behavior is simply not to respond. At all. 2) Telling someone they are rude is itself rude. If someone insults you, manners says that you should either pretend not to have heard anything or give the offender the opportunity to retract by saying Excuse me? 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] [Fwd: Musical Humor]
Q: What is the dynamic range of a bass trombone? A: On or off. I'm told that a century ago in England, it was standard practice for orchestra trombonists to play all notes forte and staccato, regardless of the notated dynamic or duration. No joke! --be interesting to hear Elgar played that way, in the interests of historic authenticity... 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 - now Finale list vs D. F.
So, we are supposed to just ignore things? Almost all the other lists have some sort of etiquette, either written or implied. I think that is what those of us who dislike Fenton's post are seeking. There is no etiquette at all in his posts. His response is if you don't like it, delete me, which seems stupid. Why can't we just all agree that insults, implied or not, are not to be tolerated at all on the list? Andrew Stiller wrote: Two things: 1) People who are deliberately rude do it because they wish to get a rise out of people, so as to validate their own existence. The way to control such behavior is simply not to respond. At all. 2) Telling someone they are rude is itself rude. If someone insults you, manners says that you should either pretend not to have heard anything or give the offender the opportunity to retract by saying Excuse me? 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 - now Finale list vs D. F.
Article in this week's Computerworld: Seven People of Highly Ineffective Habits #5 The Howard Cosell tells it like it is, regardless of the consequences for himself and others. Tact is not in his vocabulary. Like his namesake, he always has an opinion, and he won't hesitate to give it -- whether you've asked him or not. Put yourself in your listener's shoes and be cognizant of how they will hear what you say. Learn to match your comments to the audience and gauge how you can have the most impact. Phil Daley AutoDesk http://www.conknet.com/~p_daley ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Maryland River Concert Series
David Froom wrote: Ray, ... The point of this series is to take chances, knowing it has a generous audience. Bunch is a serious composer with a solid background. I've heard respectable pieces by him in other contexts. He was suggested to the series by the Ahn trio, who, under the right circumstances, play a bit better than you suggest -- at least on their recordings. We do agree that they are VERY nice to look at! If history is any judge, most new works will have a very short life, as we all know. And we know you have to make room for the crap so some good stuff can come through. That's the big problem with premieres. And, whatever else you say about the Bunch -- in the context of a conversation that has included slinging arrows at composers who are accused of ignoring their audience -- he is clearly someone who knows what some in the audience want to hear (maybe, in some cases, to the extent of pandering? Or maybe he likes what he does? I prefer to hope for the latter). I'm sure Bunch acheived what he set out to acheive, and some people may like it - but I would describe it as it is a Bugler's Holiday for the new milennium, only without any originality. It would be fine for pops concerts. In this digital age, recordings are, too-often very little indication of how players can really play, especially for a small group like this. I stand by my assessment of the Ahn Trio based on their live perfromance. Their encore, after they turned to page 28 or so in their gig book (did they think our subscription concert was a wedding reception?), was a the slowest, most carefully played rendition of Orange Blossum Special I have ever heard. But the keyboardist managed to get the most bounce out of her hair (and everything else) that she could on those oompahs, I tell ya. And it was LOUD, with that god-awful amplified violin sound. Even in one of the places we did that concert, which is a VERY live, 500 seat concert hall at a local university (probably where we played your piece, David). Sheesh. If you want to hear an extreme version of sounding better on record than live, listen to our recording of the Morton Gould viola concerto. The soloist, who name I, and everyone else, has forgotten, had dug up the piece that Morton had written back in 1940 or so and forgotten. Said violist played the first movement wth piano somewhere and Morton either heard it or heard about it. Somehow, Morton suggested him to record it with us as part of our Gould recording project. Problem was, the guy couldn't QUITE play the piece (he couldn't quite COUNT!). At the (pre-digital) recording session, we did just the ending something like 20 times. Our producer, Andy Kazdin of Columbia records, has since been quoted as saying that editing the resulting product was his greatest career accomplisment. This is a man who worked with everyone from Glenn Gould on down! Anyway, Kazdin told me that it was somewhat of an ethical delimma for him - in his words This guy will probably get jobs from this recording. But at least he didn't dress like this: http://www.ahntrio.com/projects.html ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Happy 250th Birthday Mozart - now Finale list vs D. F.
Somehow, I see Fenton with a microphone practicing football announcing and I shutter..as I shuttered when Dennis Miller was on Monday night football..;-) Phil Daley wrote: Article in this week's Computerworld: Seven People of Highly Ineffective Habits #5 The Howard Cosell tells it like it is, regardless of the consequences for himself and others. Tact is not in his vocabulary. Like his namesake, he always has an opinion, and he won't hesitate to give it -- whether you've asked him or not. Put yourself in your listener's shoes and be cognizant of how they will hear what you say. Learn to match your comments to the audience and gauge how you can have the most impact. Phil Daley AutoDesk http://www.conknet.com/~p_daley ___ 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] [Fwd: Musical Humor] repost: Trombone problems
on 1/31/06 1:02 PM, Andrew Stiller at [EMAIL PROTECTED] wrote: Q: What is the dynamic range of a bass trombone? A: On or off. I'm told that a century ago in England, it was standard practice for orchestra trombonists to play all notes forte and staccato, regardless of the notated dynamic or duration. No joke! --be interesting to hear Elgar played that way, in the interests of historic authenticity... Andrew Stiller Kallisti Music Press http://home.netcom.com/~kallisti/ Dear list, Andrew brought this to our attention exactly one year ago today. As a recovering bass trombonist at such a propitious moment, I feel it is my duty to once again offer up this fair warning to all who will hear. And again, thank you, Andrew! Don Hart -- Forwarded Message From: Andrew Stiller [EMAIL PROTECTED] Reply-To: finale@shsu.edu Date: Mon, 31 Jan 2005 13:30:37 -0500 To: finale@shsu.edu, [EMAIL PROTECTED] Subject: [Finale] Fwd: Trombone problems Begin forwarded message: From: Paul Faatz [EMAIL PROTECTED] Date: January 30, 2005 3:22:51 PM EST To: [EMAIL PROTECTED] Subject: Trombone problems Might be old news to some of you, but... Washington D.C.-Each year thousands are people are killed, maimed or annoyed by trombones. The statistics of head, neck and even shoulder injuries sustained by reed players, French horn and string sections seated within reach of the deadly seventh position are truly shocking...not to mention forced early retirement due to ever- increasing hearing problems reported by classical musicians of all types who are forced to play the music of Wagner, Mahler and Brahms, as well as the hundreds of alumni of the Herman, Ferguson and Kenton bands and OKOM devotees of Kid Ory, Jack Teagarden, Abe Lincoln, Jim Robinson and Lee Gifford. There is current legislation pending in Congress to restrict the sale of trombones and equip them with child-safety devices. The influential trombone lobby is, of course, opposed to this. There have even been several proposals for requiring a so-called trigger lock 0n all bass trombones! Every year there are reports of hundreds of innocent children, attracted by the shiny brass and smooth, seductive curves of an unattended instrument on a stand in the corner of a room or in an unlocked case who are traumatized for life by the attempts of a playmate to get a sound out of it or who may suffer a collapsed lung or the effects of hyperventilation by trying the same effort themselves! The owner's feeble I didn't know the slide was unlocked is no excuse! Trombones should be stored out of reach of children. Efforts to enact a mandatory 10-day waiting period to purchase a trombone -which would simply allow a reasonable period of time for law enforcement officials to cross-check the purchaser's name against an International list of registered trombone offenders and Slide-O-Mix addicts, have been repeatedly thwarted by the powerful Conn-Selmer- Yamaha (CSY) lobby. Law enforcement officials are particularly alarmed over the increase in crimes involving use of the sawed-off trombone or sackbut. Legislation is also pending in several progressive states, including New York and California, to make carrying a concealed alto trombone a Class A felony! Some Governors feel that there are sufficient laws already on the books that simply need stricter enforcement - such as the 1932 nation-wide ban of screw-on bells, the indiscriminate use of Pond's Cold Cream or KY Jelly and unsupervised emptying of spit valves on public property; a filthy unsanitary habit which will help spread the flu this year. One popular response to the spread of delinquent behavior is the imposition of longer sentences mandatory for those using a trombone while committing a crime (Use a trombone - Go to Jail). Surveillance video tapes have proven especially effective in identifying violators of this statute because career criminals have often tried to avoid convictions by having their lawyers insist that what eye-witnesses reported as a trombone was really only an AK-47 or other legal assault weapon. Strict enforcement has been especially effective when used in conjunction with the new Three sharps, you're out statutes that have already been approved by many state legislatures. Of course the automatic and semi-automatic valved models, both piston and the middle-European rotary, are much more dangerous than the traditional single valve trombone. Interpol has also reported the sudden appearance of rear-blasting Cavalry models that were thought to have been completely eliminated during the Great Confiscation mandated by the 1918 Treaty of Versailles signed by representatives of every civilized country of the period. You may recall that those instruments were melted down and became an integral part of the Trans- Atlantic Telephone Cable that helped to unite America and Europe. It is believed that the new
Re: [Finale] Happy 250th Birthday Mozart - now Finale list vs D. F.
Eric, You have made your point. We could all benefit by moving on. RBH Eric Dannewitz wrote: So, we are supposed to just ignore things? ... ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT Contemporary music and anti-intellectualism [was: Happy 250th Birthday Mozart]
Andrew Stiller wrote: I'm not sure I understand why you don't think Hovhaness was a recently dead composer in classical style, since he died in 2000, and when find references to performances of his music it is by classical music groups, and the recordings are in the classical music section of the local retailers. Well, OK. I failed to signal the turn at the drug store, and I'm using (at least in the present exchange) a definition of contemporary which is close to the one you use describe, that is the sense of contemporary classical composer. I consider Hovhaness to be in that category, but you do not. It is true he is no longer living, but based upon his death date, 2000, I would consider him recent; and what I know of his music, I would consider to be contemporary classical. I don't mean to persuade you that he is contemporary classical, I just am curious why you think he is not. ns ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Happy 250th Birthday Mozart - now Finale list vs D. F.
On 31.01.2006 Raymond Horton wrote: I really thought we were done with all of this. As someone who has been on the receiving end of David's barbs on occasion, I have to say that the criticism of him has gone way overboard. Anyone else for calling an end to this and getting back to Finale and tangential musical discussions? Although I must say that I am beginning to find this discussion rather amusing, I would say, yes, please, can we end this before it gets even more out of hands? Several people have now started to behave like three-year-olds. 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] Maryland River Concert Series
If you want to hear an extreme version of sounding better on record than live, listen to our recording of the Morton Gould viola concerto. The soloist, who name I, and everyone else, has forgotten, had dug up the piece that Morton had written back in 1940 or so and forgotten. Said violist played the first movement wth piano somewhere and Morton either heard it or heard about it. Somehow, Morton suggested him to record it with us as part of our Gould recording project. Problem was, the guy couldn't QUITE play the piece (he couldn't quite COUNT!). At the (pre-digital) recording session, we did just the ending something like 20 times. Our producer, Andy Kazdin of Columbia records, has since been quoted as saying that editing the resulting product was his greatest career accomplisment. In 1954, I was in the MIT orchestra, playing the bass for the first time, since there were many cellists and no bass players. Andy Kazdin was the timpanist in the orchestra. Neither of us completed our MIT careers. Andy has since worked with my brother on some Live from Lincoln Center broadcasts. Chuck This is a man who worked with everyone from Glenn Gould on down! Anyway, Kazdin told me that it was somewhat of an ethical delimma for him - in his words This guy will probably get jobs from this recording. But at least he didn't dress like this: http://www.ahntrio.com/projects.html ___ 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] [Fwd: Musical Humor] repost: Trombone problems
on 1/31/06 1:02 PM, Andrew Stiller at [EMAIL PROTECTED] wrote: Q: What is the dynamic range of a bass trombone? A: On or off. True story: The conductor of a major orchestra had been waxing philosophical for a few minutes on how he wanted a certain passage to be played. From the back, the bass trombonist raised his hand and asked, Do you want it louder... or slower? A stunned silence for a few seconds, then general hilarity. As if there was any other choice to be had from a bass trombonist! Christopher Unrepentant bass trombonist ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
RE: [Finale] Happy 250th Birthday Mozart - now Finale list vs D. F.
I mostly just lurk around here, but I get a lot out of the list and I'd like to comment on this thread. I've come around from an initial petulance to appreciating David's contributions because I like the clarity of his thought and the care he takes in framing his arguments and in dissecting the opinions of others. Regarding lists in general, after I decided that I don't have to let posts get to me, reminding myself that I'm unlikely to run into offenders in the park, to have to worry about them marrying into the family, need them for a reference, etc., like magic they did just stop bothering me. It's proven to be a recipe for sanity, particularly on other lists that frequently veer into politics. YMMV. Stu ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Re: Finale list vs D. F.
Le 06-01-31 à 13:44, Andrew Stiller a écrit :Two things: 1) People who are deliberately rude do it because they wish to get a rise out of people, so as to validate their own existence. The way to control such behavior is simply not to respond. At all. 2) Telling someone they are rude is itself rude. If someone insults you, manners says that you should either pretend not to have heard anything or give the offender the opportunity to retract by saying "Excuse me? Mea culpa. I think you are right Andrew. I was definitely validating the feeling I had that something was wrong. I guess it was foolish from me to expect something from it. I do stand by what I wrote, except the last sentence, which was not appropriate. I agree that we should go on and stop this thread. Eric DussaultFinale 2006c for MacReal-time Finale discussion - http://www.finaleirc.com ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
RE: [Finale] [Fwd: Musical Humor] repost: Trombone problems
Sounds a bit like the question (supposedly from a trumpeter!) Is that passage slunged or turd? For the benefit of non wind players- tongued or slurred? as in articulation! 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 Christopher Smith Sent: Wednesday, 1 February 2006 9:13 AM To: finale@shsu.edu Subject: Re: [Finale] [Fwd: Musical Humor] repost: Trombone problems on 1/31/06 1:02 PM, Andrew Stiller at [EMAIL PROTECTED] wrote: Q: What is the dynamic range of a bass trombone? A: On or off. True story: The conductor of a major orchestra had been waxing philosophical for a few minutes on how he wanted a certain passage to be played. From the back, the bass trombonist raised his hand and asked, Do you want it louder... or slower? A stunned silence for a few seconds, then general hilarity. As if there was any other choice to be had from a bass trombonist! Christopher Unrepentant bass trombonist ___ 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: 267.14.25/246 - Release Date: 30/01/2006 -- No virus found in this outgoing message. Checked by AVG Free Edition. Version: 7.1.375 / Virus Database: 267.14.25/247 - Release Date: 31/01/2006 ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] [Fwd: Musical Humor] repost: Trombone problems
The funniest part was the delivery. Think of Robert Barone, the big brother character from Everybody Loves Raymond, the TV show, delivering it in a deadpan monotone. Plus, the bass trombonist really was speaking out of turn, as he should refer to the section leader first for points of interpretation. How often does a mere bass trombonist address the conductor in rehearsal? True story: The conductor of a major orchestra had been waxing philosophical for a few minutes on how he wanted a certain passage to be played. From the back, the bass trombonist raised his hand and asked, Do you want it louder... or slower? A stunned silence for a few seconds, then general hilarity. As if there was any other choice to be had from a bass trombonist! Christopher Unrepentant bass trombonist ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] [Fwd: Musical Humor] repost: Trombone problems
Christopher Smith wrote: The funniest part was the delivery. Think of Robert Barone, the big brother character from Everybody Loves Raymond, the TV show, delivering it in a deadpan monotone. Plus, the bass trombonist really was speaking out of turn, as he should refer to the section leader first for points of interpretation. How often does a mere bass trombonist address the conductor in rehearsal? True story: The conductor of a major orchestra had been waxing philosophical for a few minutes on how he wanted a certain passage to be played. From the back, the bass trombonist raised his hand and asked, Do you want it louder... or slower? A stunned silence for a few seconds, then general hilarity. As if there was any other choice to be had from a bass trombonist! Whaddya mean, 'dynamics!?' - I'm playing as loud as I can!! cd -- http://www.livejournal.com/users/dershem/# ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Two vertical systems on a page
I know this is possible, and very simple, on a PART, but I can't figure out how to do this on a SCORE: I would like to have two vertical systems, with white space in between them, on one page of a score (a tall full orchestra score). This would be similar to adding a Coda. (That is not what I am doing - I am sending in an excerpt of a score, and I want to show a cut all on one page.) Can this be done? I have dragged both the systems I want so hey have a small width, but I don't know how to get them on the same page. Another way to do it would be to put an empty measure between, and cover it with white space, which I have seen you guys talk about for years. How do I do that, for one bar of a tall orchestral score? BTW, I can't RTFM, because of another, very odd problem I've had for months. I'll save that for my next post. RBH ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Melody (was Happy 250th Birthday Mozart)
At 6:20 AM -0500 1/30/06, dhbailey wrote: I have to disagree here -- to Glenn Miller, melody was supremely important. Being able to dance to the music was important as well, but melody was very important. I think it was because for the audiences for which he played, dance music had to have melody AND beat. Otherwise his recordings would have been endless jams instead of the carefully written out arrangements with essentially the same solos each time. I seriously doubt that the solos were identical each time, given some of the name brand players, but David does point out a contradiction in the big band era. Once a song was recorded--and this goes for sweet jazz, hot jazz, or cool jazz equally--and people were used to hearing solos one particular way, that's the way they expected to hear them. The success of jazz recordings was ironically what caused this problem for jazz players, making a relatively free form into a relatively fixed form and actually suppressing creativity. John -- John Susie Howell Virginia Tech Department of Music Blacksburg, Virginia, U.S.A 24061-0240 Vox (540) 231-8411 Fax (540) 231-5034 (mailto:[EMAIL PROTECTED]) http://www.music.vt.edu/faculty/howell/howell.html ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Happy 250th Birthday Mozart
At 11:26 AM + 1/30/06, Owain Sutton wrote: John Howell wrote: At 10:53 AM + 1/29/06, Owain Sutton wrote: Some good points, perhaps, although I think you need a bit more evidence before making such claims about Dufay or Josquin with such certainty! In DuFay's lifetime the popularity of one's music can be measured by the number of manuscripts containing that music, and his is in lots of them. And Ottaviano Petrucci in Venice was one of the first printers of polyphonic music, a successful businessman, and therefore a shrewd judge of his own marketplace, and he chose to print and publish much of Josquin's sacred music. The survival in manuscripts can be used as an *indicator* of such popularity, but it most certainly does not tell us about the reasons composers wrote the music they did. And survival in, for example, the Trent Codices tells us nothing at all about how frequently or widely the music was heard or performed. Quite correct, but somewhat irrelevant. There was no ASCAP tracking performances, and no Billboard Manuscript listing the Top 40 or Hot 100. The essence of historical musicology is to try to learn what CAN be known and extrapolate from that. There's a scholar at one of the California universities, who is a DuFay expert and can tell you all about his waffle iron!!! Petrucci was a shrewd (or very lucky) businessman. But, we do not know who he sold books to, or even how many he sold. And it's most likely that he chose pre-existing music which he knew would sell well, and therefore is irrelevant in the context of how composers work. Which I think was my point. He knew or judged that Josquin would sell, and it did. And who bought the books would be very nice to know, but just the fact that they sold suggests (IMHO) that they sold to people who fully intended to perform the music. But I don't recall that this thread was about how composers work (my apologies if my memory is faulty), just whether they wrote what people enjoyed hearing. John -- John Susie Howell Virginia Tech Department of Music Blacksburg, Virginia, U.S.A 24061-0240 Vox (540) 231-8411 Fax (540) 231-5034 (mailto:[EMAIL PROTECTED]) http://www.music.vt.edu/faculty/howell/howell.html ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] [Fwd: Musical Humor] repost: Trombone problems
I think bass trombonists are cool. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Two vertical systems on a page
I should have said that I am running FinWin 2006C I know this is possible, and very simple, on a PART, but I can't figure out how to do this on a SCORE: I would like to have two vertical systems, with white space in between them, on one page of a score (a tall full orchestra score). This would be similar to adding a Coda. (That is not what I am doing - I am sending in an excerpt of a score, and I want to show a cut all on one page.) Can this be done? I have dragged both the systems I want so hey have a small width, but I don't know how to get them on the same page. Another way to do it would be to put an empty measure between, and cover it with white space, which I have seen you guys talk about for years. How do I do that, for one bar of a tall orchestral score? BTW, I can't RTFM, because of another, very odd problem I've had for months. I'll save that for my next post. RBH ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] [Fwd: Musical Humor] repost: Trombone problems
bill wrote: I think bass trombonists are cool. Don't worry - you can get help. :) cd -- http://www.livejournal.com/users/dershem/# ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] TAN: problem with displaying PDF files
I can't RTFM, or any other PDF file, and I've had serious problems with them for months. I have a Pentium 4 that's about three years old. Several months ago, whether I click on PDFs or call up Acrobat Reader first, the files would load EXTREMELY slowly. Now they won't load at all - Acrobat Reader shows up in Windows Task Manager - Processes as semi- loaded but won't ever fully load. I have uninstalled and reinstalled Acrobat Reader many times, tried older versions, everything I can think of. Any suggestions? RBH ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Happy 250th Birthday Mozart
At 7:36 PM + 1/30/06, Owain Sutton wrote: Andrew Stiller wrote: On Jan 30, 2006, at 6:26 AM, Owain Sutton wrote: Petrucci was a shrewd (or very lucky) businessman. But, we do not know who he sold books to, or even how many he sold. Early printed music, right up through at least the 17th c., cost more--much more--than an MS because it looked better and was likely to have far fewer errors. Every edition, that is, was a deluxe edition. Somewhere I read--it may have been in the study of the life and works of 16th century Parisian printer Pierre Attaignant--that while comparison of prices and values across the centuries is chancy at best, a new book in the 16th century probably sold for the equivalent of that same exact book sold in the 20th century as an antique. But that doesn't stop Gutenberg's Bibles from being one (of a great many) factors that made the Protestant Reformation possible. And I agree with David that much surviving music--manuscript or prints--survived because it was tucked away in a library and not used. That's exactly why we have the six surviving Brandenburg Concerti, while we will probably never know what else was sitting on the shelves in Coethen when Bach pulled those six pieces out and made fair copies of them. So no, we can never know everything, and the farther back in time we go the less we CAN know, but that's no reason not to use what we DO know intelligently, even though it involves some degree of extrapolation and educated guesswork. John -- John Susie Howell Virginia Tech Department of Music Blacksburg, Virginia, U.S.A 24061-0240 Vox (540) 231-8411 Fax (540) 231-5034 (mailto:[EMAIL PROTECTED]) http://www.music.vt.edu/faculty/howell/howell.html ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] [Fwd: Musical Humor] repost: Trombone problems
Christopher, I hope you are not offfended by that. Being an ex-lead trombone player, I always envied the bass. So much cool plumbing! I could never afford it, but I always loved the sound. Sorry to be sophomoric, but bass trombones rule...and violists Bill bill wrote: I think bass trombonists are cool. Don't worry - you can get help. :) cd ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] [Fwd: Musical Humor] repost: Trombone problems
Of course, there is always the joke: What do you call a Trombone player with a pager? Optimist bill wrote: Christopher, I hope you are not offfended by that. Being an ex-lead trombone player, I always envied the bass. So much cool plumbing! I could never afford it, but I always loved the sound. Sorry to be sophomoric, but bass trombones rule...and violists Bill ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] [Fwd: Musical Humor] repost: Trombone problems
Hey I play soprano trombone..badly an oddly ;) -Adriel From: bill [EMAIL PROTECTED] Reply-To: finale@shsu.edu Date: Tue, 31 Jan 2006 21:49:17 -0800 To: finale@shsu.edu Subject: Re: [Finale] [Fwd: Musical Humor] repost: Trombone problems Christopher, I hope you are not offfended by that. Being an ex-lead trombone player, I always envied the bass. So much cool plumbing! I could never afford it, but I always loved the sound. Sorry to be sophomoric, but bass trombones rule...and violists Bill bill wrote: I think bass trombonists are cool. Don't worry - you can get help. :) cd ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Two vertical systems on a page
Here's how you can get two thin systems side by side on one page of a score: - In the Page Layout menu, un-check the option Avoid Margin Collisions. - Drag the widths of the systems to make them as slim as desired. - Position the systems on their respective pages so that the first system is on the left and the second on the right. - Use Page Layout Systems Edit margins to set the Distance Between Systems on the second system to a negative number. The actual number will depend on the size of your page: just try something that is a bit more than the height of a page and increase it until the second system is pushed onto the same page as the first one. - Once the two systems are on the same page you can drag them as you wish. Michael Cook On 1 Feb 2006, at 05:36, Raymond Horton wrote: I should have said that I am running FinWin 2006C I know this is possible, and very simple, on a PART, but I can't figure out how to do this on a SCORE: I would like to have two vertical systems, with white space in between them, on one page of a score (a tall full orchestra score). This would be similar to adding a Coda. (That is not what I am doing - I am sending in an excerpt of a score, and I want to show a cut all on one page.) Can this be done? I have dragged both the systems I want so hey have a small width, but I don't know how to get them on the same page. Another way to do it would be to put an empty measure between, and cover it with white space, which I have seen you guys talk about for years. How do I do that, for one bar of a tall orchestral score? BTW, I can't RTFM, because of another, very odd problem I've had for months. I'll save that for my next post. RBH ___ 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
