Re: [Finale] Fwd: OT: protocol

[Chuck Israels]

To Bob Florence et al:

I think Darcy is right.  It may be possible to remain under the radar  
for something like this, but if you do get caught, it is not legal  
and surely problematic.


Fortunately for those of us who like doing things like this - using  
familiar material in new and challenging ways, there are more and  
more wonderful tunes falling into public domain.  I write  
arrangements of them all the time and have a great time doing it.


Chuck


On May 12, 2006, at 6:44 PM, Darcy James Argue wrote:

What is the legal precedent for "Fair Use" in this case --  
quotation of copyrighted music in an original composition?


I was under the impression that this sort of thing falls clearly  
outside the boundaries of "fair use" -- that even extremely brief  
musical quotes need to be cleared with the copyright holder.


- Darcy
-
[EMAIL PROTECTED]
http://secretsociety.typepad.com
Brooklyn, NY

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230 North Garden Terrace
Bellingham, WA 98225-5836
phone (360) 671-3402
fax (360) 676-6055
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Re: [Finale] Fwd: OT: protocol

[Carl Dershem]

Darcy James Argue wrote:

What is the legal precedent for "Fair Use" in this case -- quotation  of 
copyrighted music in an original composition?


I was under the impression that this sort of thing falls clearly  
outside the boundaries of "fair use" -- that even extremely brief  
musical quotes need to be cleared with the copyright holder.


From what I've seen, this all lies in how good your attorney is, and 
what proportion the quote is to the rest of the piece.  And how big a 
twit the copyright holder is.


I've seen and heard some pieces that had sections in them clearly 
derived from the ideas of Sammy Nestico, and Sammy was just tickled, 
because they were well done, and not as much plagiarized as inspired. 
I've heard other pieces that the copyright holder allowed to be used 
*once* for a recording, and never published, because they had control 
issues.


Mileage varies.

cd
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Re: [Finale] Fwd: OT: protocol

[Darcy James Argue]

What is the legal precedent for "Fair Use" in this case -- quotation  
of copyrighted music in an original composition?


I was under the impression that this sort of thing falls clearly  
outside the boundaries of "fair use" -- that even extremely brief  
musical quotes need to be cleared with the copyright holder.


- Darcy
-
[EMAIL PROTECTED]
http://secretsociety.typepad.com
Brooklyn, NY

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Re: [Finale] Fwd: OT: protocol

[Carl Dershem]

Bob Florence wrote:

Date: Thu, 11 May 2006 19:16:36 -0700
To: finale
From: Bob Florence <[EMAIL PROTECTED]>
Subject: OT: protocol
Cc:
Bcc:
X-Attachments:

Hi All:

I have written a composition for an oversized big band. It is titled 
"Appearing In Cleveland"and is a tribute to band leader Stan Kenton. 
It is 15 minutes long and it is based partialy on Stan's theme 
"Artistry In Rhythm". The theme is stated clearly near the beginning 
and has many short fragments of it later on. Other than that, it is 
all mine.
I tend to think of it like William Walton's "Variations on a theme by 
Paul Hindemith" or Brahms "Variations On A Theme by Handel". You get 
the picture. "Artistry In Rhythm" is not in public domain.
The Kenton estate is very much alive. I am going to list myself as 
composer. What else is necessary?

I hope I have mad this clear.


I was doing a gig with Ira Liss' band a few weeks ago, and he had a new 
chart from the Kenton Library, and a story to go with it.  Apparently 
Kenton willed his library to what used to be North Texas State, and the 
guy in charge there is a real ... not nice person, and not only will not 
release music for play, but will not even allow scholars to *look* at 
the music for study.  Every few years he'll release one, generally a 
minor piece, but the prices are pretty high.  Other than that, 
everything is locked down tight.


So, anyway, I have a feeling that they would be the people to ask.

Then again, depending on how much of the figure you use in your piece 
(which I look forward to hearing), you may be able to use the "Fair use" 
protocol built into the copyright law.


Let us know how it works out!

cd
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Re: [Finale] part extraction question

[Andrew Stiller]

On May 12, 2006, at 9:23 AM, Christopher Smith wrote:


In the rare instances where there actually are three distinct parts 
for the violins (not octave-doublings of other voices) the conductor 
split the firsts and seconds in this way:


The front 2/3 desks of firsts played violin 1.
The front 2/3 desks of seconds played violin 2.
The back 1/3 desks of firsts and seconds played violin 3.

This way the players playing the same parts sit together, and are more 
or less evenly weighted. The concert master tells me that this last 
method is overwhelmingly the most usual way of dividing three ways


Thanks very much for remembering the question, and for this 
illuminating reply. I note, though, that the method of division 
suggested only works if all the violins are seated together (the 
20th-c. model). If the 1sts and 2nds are on opposite sides of the stage 
(as anticipated by all composers pre-Mahler), then the "violin 3" 
grouping would end up being played by two widely separated bodies of 
players, creating precisely the kind of ensemble-coordination issues 
that Mahler hoped to avoid when he reorganized the orchl. layout.


Andrew Stiller
Kallisti Music Press
http://home.netcom.com/~kallisti/

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RE: [Finale] 3 violin parts and rehearsal letters - numbers

[Owain Sutton]

Thought that might be it...for that movement, both the Violin 1 and
Violin 2 parts have a three-staff system showing all parts.  No
specification is given about how to divide it - having a 'rear section'
is common, but I've also played it with normal a3 divisi, which produced
a wonderfully-uniform texture, but was more challenging both for
conductor and players.



> -Original Message-
> From: [EMAIL PROTECTED] 
> [mailto:[EMAIL PROTECTED] On Behalf Of Raymond Horton
> Sent: 12 May 2006 20:14
> To: finale@shsu.edu
> Subject: Re: [Finale] 3 violin parts and rehearsal letters - numbers
> 
> 
> This was a thread a couple of months ago.  I believe someone 
> had a score 
> with 3 violin parts for a movement or so, and I suggested the 
> Shostakovitch Fifth as a  precedent. I knew the score was 
> three distinct 
> parts for only the third movement, but was not sure how the 
> violin parts 
> were handled. 
> 
> 
> Raymond Horton
> Bass Trombonist
> Louisville Orchestra
> 
> 
> Owain Sutton wrote:
> 
> >Apologies, but I seemed to have missed out on some emails - 
> what was the
> >query re. Shostakovitch 5?
> >
> >
> >
> >  
> >
> >>-Original Message-
> >>From: [EMAIL PROTECTED] 
> >>[mailto:[EMAIL PROTECTED] On Behalf Of Raymond Horton
> >>Sent: 12 May 2006 17:27
> >>To: finale@shsu.edu
> >>Subject: Re: [Finale] 3 violin parts and rehearsal letters - numbers
> >>
> >>
> >>Many Tchaikovsky works (I recall the 5th symphony particularly) are 
> >>notorious for having the rehearsal letters one bar before 
> the phrase 
> >>beginings.  I don't know if it is a composer preference or a 
> >>publisher-editor preference. 
> >>
> >>Also, thanks for following up on the Shostakovitch 5th 3rd 
> >>violin part.  
> >>I asked four different 1st violinists, and none had any 
> recollection 
> >>(sigh).  I would have asked our librarian, but she is in a 
> tizzy now 
> >>since our summer season was cancelled as of a few weeks ago 
> >>and now is 
> >>back on.  
> >>
> >>Every time I have observed the three part violin section in that 
> >>symphony, both when we played and when I heard a local 
> >>community group 
> >>play it, it was just as you described - the back approx 1/3 of both 
> >>sections played the third part. 
> >>
> >>It would seem, if that was the case, that the easiest way to 
> >>print the 
> >>parts would be to put 1+3 in the first part, and 2+3 in the 
> 2nd part, 
> >>and note that 3 is in both parts, and/or note the 2/3-1/3 divisi. 
> >>
> >>RBH
> >>
> >>
> >>
> >>
> >>>On 5/12/06 8:31 AM, "Christopher Smith" 
> >>>  
> >>>
> >><[EMAIL PROTECTED]>
> >>
> >>
> >>>wrote:
> >>>
> >>> 
> >>>
> >>>  
> >>>
> In the Shostakovich 5 I mentioned in a previous message, I 
> 
> 
> >>noticed in
> >>
> >>
> the score that the barlines at the rehearsal marks were 
> quite thick,
> about like Finale's thick barlines. It was remarkable 
> because I had
> never seen them before (except in incompetent Finale 
> copying) and I
> don't know what to make of them.
> 
> The rehearsal numbers (about every 4 bars or so) seem to 
> 
> 
> >>occur in the
> >>
> >>
> bar BEFORE a phrase beginning, which is extremely off-putting. The
> editor is also inconsistent on this, sometimes putting a rehearsal
> marking ON a phrase start, just to mess with our heads.
> 
> Christopher
>    
> 
> 
> 
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> 

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Re: [Finale] 3 violin parts and rehearsal letters - numbers

[Raymond Horton]

This was a thread a couple of months ago.  I believe someone had a score 
with 3 violin parts for a movement or so, and I suggested the 
Shostakovitch Fifth as a  precedent. I knew the score was three distinct 
parts for only the third movement, but was not sure how the violin parts 
were handled. 



Raymond Horton
Bass Trombonist
Louisville Orchestra


Owain Sutton wrote:


Apologies, but I seemed to have missed out on some emails - what was the
query re. Shostakovitch 5?



 


-Original Message-
From: [EMAIL PROTECTED] 
[mailto:[EMAIL PROTECTED] On Behalf Of Raymond Horton

Sent: 12 May 2006 17:27
To: finale@shsu.edu
Subject: Re: [Finale] 3 violin parts and rehearsal letters - numbers


Many Tchaikovsky works (I recall the 5th symphony particularly) are 
notorious for having the rehearsal letters one bar before the phrase 
beginings.  I don't know if it is a composer preference or a 
publisher-editor preference. 

Also, thanks for following up on the Shostakovitch 5th 3rd 
violin part.  
I asked four different 1st violinists, and none had any recollection 
(sigh).  I would have asked our librarian, but she is in a tizzy now 
since our summer season was cancelled as of a few weeks ago 
and now is 
back on.  

Every time I have observed the three part violin section in that 
symphony, both when we played and when I heard a local 
community group 
play it, it was just as you described - the back approx 1/3 of both 
sections played the third part. 

It would seem, if that was the case, that the easiest way to 
print the 
parts would be to put 1+3 in the first part, and 2+3 in the 2nd part, 
and note that 3 is in both parts, and/or note the 2/3-1/3 divisi. 


RBH


   

On 5/12/06 8:31 AM, "Christopher Smith" 
 


<[EMAIL PROTECTED]>
   


wrote:



 

In the Shostakovich 5 I mentioned in a previous message, I 
   


noticed in
   


the score that the barlines at the rehearsal marks were quite thick,
about like Finale's thick barlines. It was remarkable because I had
never seen them before (except in incompetent Finale copying) and I
don't know what to make of them.

The rehearsal numbers (about every 4 bars or so) seem to 
   


occur in the
   


bar BEFORE a phrase beginning, which is extremely off-putting. The
editor is also inconsistent on this, sometimes putting a rehearsal
marking ON a phrase start, just to mess with our heads.

Christopher
  

   


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Re: [Finale] Fwd: OT: protocol

[John Howell]

At 9:31 AM -0700 5/12/06, Bob Florence wrote:

Date: Thu, 11 May 2006 19:16:36 -0700
To: finale
From: Bob Florence <[EMAIL PROTECTED]>
Subject: OT: protocol
Cc:
Bcc:
X-Attachments:

Hi All:

I have written a composition for an oversized big band. It is 
titled "Appearing In Cleveland"and is a tribute to band leader Stan 
Kenton. It is 15 minutes long and it is based partialy on Stan's 
theme "Artistry In Rhythm". The theme is stated clearly near the 
beginning and has many short fragments of it later on. Other than 
that, it is all mine.
I tend to think of it like William Walton's "Variations on a theme 
by Paul Hindemith" or Brahms "Variations On A Theme by Handel". You 
get the picture. "Artistry In Rhythm" is not in public domain.
The Kenton estate is very much alive. I am going to list myself as 
composer. What else is necessary?

I hope I have mad this clear.


It certainly seems clear enough.  Who is the copyright owner for 
"Artistry in Rhythm"?  It looks to me as if the only legitimate way 
you can use it is with the permission of that copyright owner.  This 
has nothing to do with your being the composer of the work, just with 
the legitimacy of your use of copyrighted material.


Don't forget that within the past year or so, the John Cage estate 
won a judgement for the use of silence in a composition, because the 
composer made the mistake of claiming that he was using John Cage's 
silence!!


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
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Re: [Finale] Fwd: OT: protocol

[Godofredo Romero]

And, how does one goes about getting a copy of this work ( a recording 
or whatever) I am a great Kentonian fan - I met him personally and 
before that I played many of his music when I was active as a trumpet 
player.


gr

Bob Florence wrote:


Date: Thu, 11 May 2006 19:16:36 -0700
To: finale
From: Bob Florence <[EMAIL PROTECTED]>
Subject: OT: protocol
Cc:
Bcc:
X-Attachments:

Hi All:

I have written a composition for an oversized big band. It is titled 
"Appearing In Cleveland"and is a tribute to band leader Stan Kenton. 
It is 15 minutes long and it is based partialy on Stan's theme 
"Artistry In Rhythm". The theme is stated clearly near the beginning 
and has many short fragments of it later on. Other than that, it is 
all mine.
I tend to think of it like William Walton's "Variations on a theme by 
Paul Hindemith" or Brahms "Variations On A Theme by Handel". You get 
the picture. "Artistry In Rhythm" is not in public domain.
The Kenton estate is very much alive. I am going to list myself as 
composer. What else is necessary?

I hope I have mad this clear.



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RE: [Finale] 3 violin parts and rehearsal letters - numbers

[Owain Sutton]

Apologies, but I seemed to have missed out on some emails - what was the
query re. Shostakovitch 5?



> -Original Message-
> From: [EMAIL PROTECTED] 
> [mailto:[EMAIL PROTECTED] On Behalf Of Raymond Horton
> Sent: 12 May 2006 17:27
> To: finale@shsu.edu
> Subject: Re: [Finale] 3 violin parts and rehearsal letters - numbers
> 
> 
> Many Tchaikovsky works (I recall the 5th symphony particularly) are 
> notorious for having the rehearsal letters one bar before the phrase 
> beginings.  I don't know if it is a composer preference or a 
> publisher-editor preference. 
> 
> Also, thanks for following up on the Shostakovitch 5th 3rd 
> violin part.  
> I asked four different 1st violinists, and none had any recollection 
> (sigh).  I would have asked our librarian, but she is in a tizzy now 
> since our summer season was cancelled as of a few weeks ago 
> and now is 
> back on.  
> 
> Every time I have observed the three part violin section in that 
> symphony, both when we played and when I heard a local 
> community group 
> play it, it was just as you described - the back approx 1/3 of both 
> sections played the third part. 
> 
> It would seem, if that was the case, that the easiest way to 
> print the 
> parts would be to put 1+3 in the first part, and 2+3 in the 2nd part, 
> and note that 3 is in both parts, and/or note the 2/3-1/3 divisi. 
> 
> RBH
> 
> 
> >On 5/12/06 8:31 AM, "Christopher Smith" 
> <[EMAIL PROTECTED]>
> >wrote:
> >
> >  
> >
> >>In the Shostakovich 5 I mentioned in a previous message, I 
> noticed in
> >>the score that the barlines at the rehearsal marks were quite thick,
> >>about like Finale's thick barlines. It was remarkable because I had
> >>never seen them before (except in incompetent Finale copying) and I
> >>don't know what to make of them.
> >>
> >>The rehearsal numbers (about every 4 bars or so) seem to 
> occur in the
> >>bar BEFORE a phrase beginning, which is extremely off-putting. The
> >>editor is also inconsistent on this, sometimes putting a rehearsal
> >>marking ON a phrase start, just to mess with our heads.
> >>
> >>Christopher
> >>
> >>
> >
> >  
> >
> ___
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> http://lists.shsu.edu/mailman/listinfo/finale
> 

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[Finale] Fwd: OT: protocol

[Bob Florence]

Date: Thu, 11 May 2006 19:16:36 -0700
To: finale
From: Bob Florence <[EMAIL PROTECTED]>
Subject: OT: protocol
Cc:
Bcc:
X-Attachments:

Hi All:

I have written a composition for an oversized big band. It is titled 
"Appearing In Cleveland"and is a tribute to band leader Stan Kenton. 
It is 15 minutes long and it is based partialy on Stan's theme 
"Artistry In Rhythm". The theme is stated clearly near the beginning 
and has many short fragments of it later on. Other than that, it is 
all mine.
I tend to think of it like William Walton's "Variations on a theme 
by Paul Hindemith" or Brahms "Variations On A Theme by Handel". You 
get the picture. "Artistry In Rhythm" is not in public domain.
The Kenton estate is very much alive. I am going to list myself as 
composer. What else is necessary?

I hope I have mad this clear.


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Re: [Finale] 3 violin parts and rehearsal letters - numbers

[Raymond Horton]

Many Tchaikovsky works (I recall the 5th symphony particularly) are 
notorious for having the rehearsal letters one bar before the phrase 
beginings.  I don't know if it is a composer preference or a 
publisher-editor preference. 

Also, thanks for following up on the Shostakovitch 5th 3rd violin part.  
I asked four different 1st violinists, and none had any recollection 
(sigh).  I would have asked our librarian, but she is in a tizzy now 
since our summer season was cancelled as of a few weeks ago and now is 
back on.  

Every time I have observed the three part violin section in that 
symphony, both when we played and when I heard a local community group 
play it, it was just as you described - the back approx 1/3 of both 
sections played the third part. 

It would seem, if that was the case, that the easiest way to print the 
parts would be to put 1+3 in the first part, and 2+3 in the 2nd part, 
and note that 3 is in both parts, and/or note the 2/3-1/3 divisi. 


RBH



On 5/12/06 8:31 AM, "Christopher Smith" <[EMAIL PROTECTED]>
wrote:

 


In the Shostakovich 5 I mentioned in a previous message, I noticed in
the score that the barlines at the rehearsal marks were quite thick,
about like Finale's thick barlines. It was remarkable because I had
never seen them before (except in incompetent Finale copying) and I
don't know what to make of them.

The rehearsal numbers (about every 4 bars or so) seem to occur in the
bar BEFORE a phrase beginning, which is extremely off-putting. The
editor is also inconsistent on this, sometimes putting a rehearsal
marking ON a phrase start, just to mess with our heads.

Christopher
   



 


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[Finale] List "Timing out"

[Henry E. Howey]

The answer may be here at SHSU. It's exam time, and all those students
trying to find out if missing all of those Friday classes (Thursday is the
big party night here) has caused them to not pass;-)


Henry Howey
Professor of Music
  Sam Houston State University
  Box 2208
  Huntsville, TX  77341
  (936) 294-1364
  http://www.shsu.edu/~music/faculty/howey.html
  Owner of FINALE Discussion List


-
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[Finale] Slurs and Tab

[Scot Hanna-Weir]

Title: [Finale] Slurs and Tab



Hello wise list,

   Here’s something that I don’t anticipate finding a fix for, but I wonder if anyone can muse over why this might have happened. I’m working on a two volume project of theorbo and theorbino tablature/transcriptions, and everything looked good at first proofs. We open the files to do corrections for seconds and all of the slurs in the tab staff have risen about 12 pts. So, I’m having to go in and manually drag all of the slurs back down to their original places. Any thoughts as to why this might have happened? (We have not upgraded between the first proofs and now).

FinMac 2006a

Thanks wise ones.

-Scot

-- 
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Music Engraver
A-R Editions, Inc.
Middleton, WI
--
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[EMAIL PROTECTED]




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Re: [Finale] Solid Barlines

[Scot Hanna-Weir]

On 5/12/06 8:31 AM, "Christopher Smith" <[EMAIL PROTECTED]>
wrote:

> In the Shostakovich 5 I mentioned in a previous message, I noticed in
> the score that the barlines at the rehearsal marks were quite thick,
> about like Finale's thick barlines. It was remarkable because I had
> never seen them before (except in incompetent Finale copying) and I
> don't know what to make of them.
> 
> The rehearsal numbers (about every 4 bars or so) seem to occur in the
> bar BEFORE a phrase beginning, which is extremely off-putting. The
> editor is also inconsistent on this, sometimes putting a rehearsal
> marking ON a phrase start, just to mess with our heads.
> 
> Christopher

Isn't it amazing how, even though we may have been picky about our editions
previously as players, that the more engraving knowledge you develop, the
more craptastic engraving we notice? I know I'll never look at an elementary
music textbook the same.

-Scot 

(I realize that comment didn't really add much to the discussion. I hope
you'll forgive me).

-- 
Scot Hanna-Weir
Music Engraver
A-R Editions, Inc.
Middleton, WI
--
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[EMAIL PROTECTED]

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Re: [Finale] Solid Barlines

[Christopher Smith]

On May 11, 2006, at 6:57 PM, John Howell wrote:


In another thread, Johannes wrote in part:

The Solid Barlines style is meant for special situations, I am not 
even sure when they would occur, but they are definitely too thick 
for normal barlines.


I ran into fat barlines in a band arrangement this spring, and found 
them distracting and of no earthly use whatsoever.  Does any 
legitimate publisher actually use them?






In the Shostakovich 5 I mentioned in a previous message, I noticed in 
the score that the barlines at the rehearsal marks were quite thick, 
about like Finale's thick barlines. It was remarkable because I had 
never seen them before (except in incompetent Finale copying) and I 
don't know what to make of them.


The rehearsal numbers (about every 4 bars or so) seem to occur in the 
bar BEFORE a phrase beginning, which is extremely off-putting. The 
editor is also inconsistent on this, sometimes putting a rehearsal 
marking ON a phrase start, just to mess with our heads.


Christopher

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Re: [Finale] part extraction question

[Christopher Smith]

On Apr 4, 2006, at 1:25 PM, Andrew Stiller wrote:

Thanks to all who responded to this. The concensus seems to be that my 
first idea was best, so that's how I'll go.


I would like to hear how the Shostakovich is set up though...



Whew!

Long time waiting for this answer. The original question was: how to 
set up violin parts so that they are divided into three, rather than 
two, parts. Shostakovich 5, 3rd movement is like this. We are playing 
it now in the Sherbrooke Symphony, and I walked over at break and 
checked out the violin parts. I should note that we are staffed 
somewhat lightly in the strings, what might be considered to be a 
medium-sized orchestra rather than a large one. We are 10-10-6-6-4 for 
this concert, which is rather skinny for a work of this size, IMHO, but 
they are all pretty strong players, which helps.


Well, first of all, the violas are divided into 2 and the cellos 
likewise for the entire 3rd movement. No sweat there; it is business as 
usual with double staves on the violas and celli.


In the violins, though, there were TWO different editions available, 
and while we are playing a relatively modern Schirmer edition in the 
rest of the orchestra, the conductor dug out earlier parts for the 3rd 
movement for the violins only. I didn't get a look at the modern 
edition of the violin parts, but the version he decided to use had all 
three violin parts bracketed together, the same sheet of music for both 
1sts and 2nds.


The conductor consulted with the concert master, and they worked out 
divisions that changed throughout the movement based on how the part 
was doubled elsewhere, or its relative importance. For example, at one 
point two of the parts are in octaves, while the third part has an 
independent line. He split the 1sts on the octave doubled line, while 
assigning all of the 2nds to the third independent line. Later on, the 
distribution changes. It was quite intricate, and it seems to me that 
the composer could have (should have!) made those decisions himself, 
and indicated them on the regular 1st and 2nd parts, which would have 
saved a lot of bother.


In the rare instances where there actually are three distinct parts for 
the violins (not octave-doublings of other voices) the conductor split 
the firsts and seconds in this way:


The front 2/3 desks of firsts played violin 1.
The front 2/3 desks of seconds played violin 2.
The back 1/3 desks of firsts and seconds played violin 3.

This way the players playing the same parts sit together, and are more 
or less evenly weighted. The concert master tells me that this last 
method is overwhelmingly the most usual way of dividing three ways, and 
we only went through the contortions we did in order to maximise the 
sound of a medium-sized violin section.


Hope this helps everyone who was interested.

Christopher

(BTW, the work is very interesting, flirting on the edges of tonality, 
and is brilliantly orchestrated, for those who don't know it. We have a 
fantastic piccolist, as well as an excellent Eb clarinetist, both of 
whom are very busy throughout, to excellent effect. It also uses piano 
as part of the orchestra, which sounds very fresh to ears used to 
Brahms, Beethoven and Mozart.)


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Re: [Finale] [OT] Messages to Finale list undelivered

[Aaron Sherber]

At 03:17 AM 5/12/2006, Marcello Noia wrote:
>It happens that some messages I sent to the list get this error:
>
>Your message is being returned; it has been enqueued and undeliverable for
>7 days to the following recipients:
>
>  Recipient address: finale@lists.shsu.edu
>  Reason: unable to deliver this message after 7 days
>
>
>Delivery attempt history for your mail:
>
>Thu, 11 May 2006 19:23:26 +0200 (CEST)
>TCP active open: Failed connect()Error: Connection timed out

This message indicates that your mail server was unable to properly 
connect to the mail server at shsu.edu. It's probably some kind of 
temporary problem with your mail server, since I think most of us 
don't see that error.


You might try addressing your emails to finale@shsu.edu rather than 
[EMAIL PROTECTED] Both addresses *should* work, but they appear 
to have different mail servers and delivery paths. And if you go to 
the web page referenced at the bottom of this email, you'll see that 
finale@shsu.edu is the recommended address.


Aaron.

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Re: [Finale] How long to finish a Finale Project (Baroque Music)

[dhbailey]

Noel Stoutenburg wrote:

David W. Fenton wrote:


On 11 May 2006 at 19:13, Kim Patrick Clow wrote:

 


No, no question is ever meaningless or pointless.
  


If that's true, then, you'll be able to answer this question:

How long is a piece of string?
 

If Kim can't I can:  exactly long enough to reach from one end of the 
other.




Which would make the only answer to Kim's question: "long enough to 
complete the project."


Which for any real-world helpfulness applied to Finale usage is, as I 
said initially, meaningless.


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David H. Bailey
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Re: [Finale] [OT] Messages to Finale list undelivered

[dhbailey]

Marcello Noia wrote:

It happens that some messages I sent to the list get this error:
 
Your message is being returned; it has been enqueued and undeliverable for

7 days to the following recipients:

  Recipient address: finale@lists.shsu.edu 
  Reason: unable to deliver this message after 7 days


Delivery attempt history for your mail:

Thu, 11 May 2006 19:23:26 +0200 (CEST)
TCP active open: Failed connect()Error: Connection timed out
Does it happen to others in this list?
Can I address to some support service to know more about that?
Thank you
 


Well, this message came through, so something's working properly now.

I've not run into that message before, so I can't offer any suggestions 
as to what would have caused that.


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David H. Bailey
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Re: [Finale] How long to finish a Finale Project (Baroque Music)

[dhbailey]

John Roberts wrote:

On average, it takes me about four and a half.
JR


[snip]

That's a perfect answer -- you leave it to the reader to fill in the 
units!  :-)


4.5 hours, 4.5 days, 4.5 weeks, 4.5 months, 4.5 cases of Jack Daniels, 
4.5 Presidential terms.


Good answer!

--
David H. Bailey
[EMAIL PROTECTED]
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[Finale] [OT] Messages to Finale list undelivered

[Marcello Noia]

It happens that some messages I sent to the list 
get this error: 
 
Your message is being returned; it has been enqueued and undeliverable 
for7 days to the following recipients:  Recipient address: finale@lists.shsu.edu  Reason: 
unable to deliver this message after 7 daysDelivery attempt history 
for your mail:Thu, 11 May 2006 19:23:26 +0200 (CEST)TCP active open: 
Failed connect()    Error: Connection timed out
Does it happen to others in this list?
Can I address to some support service to know more 
about that?
Thank you
 
themark
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