Re: [Finale] German

[Hans Swinnen]

My mother (89). She is a native German and was professional occupied by 
German traditions. According her a Schluf (=Hahn; english chanticleer, 
cock, rooster, spigot) is maybe not common anymore, but widely used in 
southern and eastern parts of Germany, and further in Bohemen.

It was also from her I learned about the Kaspertheater.

Hans
===
On 04 mrt 2007, at 23:04, Michael Cook wrote:

Schlufslied is a word I've never come across. My big Duden German 
dictionary was no help: could you give a source for this word?


Michael


You will excuse me for any typo's due to a visual handicap.

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Re: [Finale] Take 6

[themark]

On their official fan site www.take6.com you can find somewhere some 
transcriptions of T6 arrangements made by fans. There is also an official 
book of arrangements on sale on that site.

I had a look at their arrangements and tried to transcribe some of these.
They use very close harmonies to get that unique sound (melted with their 
"very special" voices), often using clusters and open jazzy harmonies.


-Messaggio Originale- 
Da: "Oliver Pospiech" <[EMAIL PROTECTED]>

A: 
Data invio: lunedì 5 marzo 2007 1.49
Oggetto: [Finale] Take 6



Hello,

I have to transcribe "O Thou That Tellest Good Tidings to Zion" sung by
Take6 on "Handels Messiah/A Soulful Celebration". Does anybody have
experiences with Take6-style? You also may contact me off-list.

Thanks,

Oliver

[EMAIL PROTECTED]

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Re: [Finale] German

[Johannes Gebauer]

On 04.03.2007 Hans Swinnen wrote:

But Schlufslied exists as a Song of the rooster.
I don't know the context, neither the age, neither the place of this song in 
the whole opus, but
IF it's the end, I'd agree with something like Ending or Final Song, BUT
if it's not the end, I'll say it *could* be a Rooster Song.


I have never heard of "Schlufslied". However, I know how wrongly encoded 
emails look, and I strongly suspect that it was originally "Schlußlied". 
In modern spelling it would be Schlusslied.


Johannes
--
http://www.musikmanufaktur.com
http://www.camerata-berolinensis.de

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Re: [Finale] German "Kaspertheater"

[Johannes Gebauer]

On 05.03.2007 Daniel Wolf wrote:

There is also a tradition, albeit relatively rare today in Germany, of 
Kasperletheater using stringed marionettes. (The Augsburger Peppenkisten, for 
example, plays Kasperle as a marionette; in the Czech tradition, Kasparek is 
usually a marionette)



My understanding of "Kasperletheater" is precisely the opposite, it is 
_not_ the same as "Marionettentheater", instead it is the simpler form 
with hand or stick puppets, and the name distinguishes it from the 
Marionettentheater. The Augsburger Puppenkiste is therefor not a 
Kasperletheater.


Kasperle, the "lead character" would often hold a piece of would in his 
hands in such a ways as would be completely impossible with a string puppet.


I might be wrong, but I certainly always understood it this way.

Johannes
--
http://www.musikmanufaktur.com
http://www.camerata-berolinensis.de

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Re: [Finale] German

[Johannes Gebauer]

On 04.03.2007 Christopher Smith wrote:

Leicht bewegt


Moving easily (not the best translation if you want to put an English marking)


Better translation: Moving lightly.

Johannes
--
http://www.musikmanufaktur.com
http://www.camerata-berolinensis.de

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[Finale] converting

[Patrick Sheehan]

Including the current version, I have worked with (and still have pieces) in 
Finale 2002b, 2006a, and now 2007.  I need to know how to properly convert all 
of my previous (2002b, 2006) works into 2007, and have them play back with the 
Human Playback (every instrument on one channel, preferably), and save in 2007 
format (no, I don't want to go back and work in the earlier versions).  Any 
help?  Thanks.

- Patrick J. M. Sheehan
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Re: [Finale] converting

[dhbailey]

Patrick Sheehan wrote:

Including the current version, I have worked with (and still have pieces) in 
Finale 2002b, 2006a, and now 2007.  I need to know how to properly convert all 
of my previous (2002b, 2006) works into 2007, and have them play back with the 
Human Playback (every instrument on one channel, preferably), and save in 2007 
format (no, I don't want to go back and work in the earlier versions).  Any 
help?  Thanks.

- Patrick J. M. Sheehan
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I've had no problem opening the file in 2007, then simply saving it, 
choosing to overwrite the original.  If you're leery of doing that, save 
it to a different folder or with a slightly different name.


All the instrument and channel assignments have come through just fine.

--
David H. Bailey
[EMAIL PROTECTED]
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[Finale] Test, do not open

[Rafael L. Junchaya]

Mensaje de prueba
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RE: [Finale] Printers used

[Fisher, Allen]

You must have gotten a bad one. Mine works great after 3 or 4 years, but
then again, I don't work it near as hard as you probably do.

--Allen  

| -Original Message-
| From: [EMAIL PROTECTED] 
| [mailto:[EMAIL PROTECTED] On Behalf Of Darcy James Argue
| Sent: Thursday, March 01, 2007 2:23 AM
| To: finale@shsu.edu
| Subject: Re: [Finale] Printers used
| 
| Just as a counterpoint to Neil, I really cannot recommend 
| Ricoh printers at all. My Ricoh AP2610 (the predecessor to 
| the AP610 -- they use all the same parts) has easily been the 
| worst printer I have ever owned. On top of that, the toner 
| cartridges are extremely expensive and many are defective 
| out-of-the box or start to fail long before the ink is out 
| (black smudges on the padge, etc.) (These are Ricoh 
| cartridges, not third-party cartridges.) I have, on multiple 
| occasions, had to call in a Ricoh tech for a house call (at $300 a
| visit) to fix essential parts that have broken off, etc.
| 
| When I bought the printer, the price seemed too good to be 
| true -- and it was.
| 
| Cheers,
| 
| - Darcy
| -
| [EMAIL PROTECTED]
| Brooklyn, NY
| 
| 
| 
| On 27 Feb 2007, at 3:34 PM, Noel Stoutenburg wrote:
| 
| > Stephen Ellis wrote:
| >> I have learned much from the thread concerning binding.  I 
| now pose 
| >> an even more basic question:  What printers are 
| recommended for your 
| >> oversized pages?  I would like to purchase one capable of printing 
| >> larger that 8.5" x 14".  Thoughts?
| > Assuming you are asking about Laser printers, I have had 
| been highly 
| > satisfied with my purchase of a Ricoh AP610 N, also 
| marketed by Savin 
| > and Gestetner under different model designations. This 
| handles 11 x 17 
| > paper, which meets my needs for now.  An abstract of the 
| specs:  1200 
| > x 1200 dpi; 35 pages per minute; toner cost (on my output, your 
| > experience may be different) about three quarters of a cent 
| per page.  
| > Biggest disadvantage:  a bit hard to find; pretty much have to go 
| > through an authorized dealer.
| >
| > ns
| > ___
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| > http://lists.shsu.edu/mailman/listinfo/finale
| 
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| 

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Re: [Finale] Non-powers of two denominators

[Daniel Wolf]

shirling & neueweise wrote:


your comments make sense, and i agree; i don't know anything about the 
underlying programming though.   in any case, you should send it to 
the support people, and if you get back anything other than the stock 
phrase "thanks, i have sent this on to our developers. let me know if 
there is anything else i can do for you," please let us know 8^)



I got the standard response back:


   Submitter: Customer Support Agent


   Daniel-

   Thank you for your future request.

   I will add it to our request list and pass it on to the development
   team.

   Thank you for using Finale!


   Matt K.
   Customer Support Representative
   MakeMusic, Inc.


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Re: [Finale] mass mover - partial measure

[Randolph Peters]

I've googled iKeys, but don't seem to come up with anything...  Does 
anyone know the developer's name?  And, can it automate things 
beyond keystrokes (like menu-clicks, etc.), in the same way that 
QuickKeys does?


Thanks,
Brennon


Someone will probably have this answered before mine gets posted, but...

...the reason you can't find iKeys is because it is called iKey. I 
was puzzled about this one for a while myself.


http://www.scriptsoftware.com/ikey/

-Randolph Peters
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[Finale] RE German

[Andrew Stiller]

On Mar 4, 2007, at 12:51 PM, Michael Cook wrote:


As literal as possible:

When it forgets itself in dust,/ Bear it with patience



Wenn sie im Staube sich vergisst, / So trag' sie mit Geduld.



This would mean the poet is asking God to be patient with the poet's 
lapses. Is that really what the German says?


Andrew Stiller
Kallisti Music Press
http://www.kallistimusic.com/kallisti.html

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Re: [Finale] 6/4 & 3/2

[A-NO-NE Music]

This thread is weird.  How come everyone is talking jazz in just one
style?  I have been playing for Jazz Composers Alliance Orchestra
 last 18 years of so.  Several
different composers writes different styles, but all of them are heavily
instructed.  This is still jazz because we still groove between on top
and behind the beat :-)

One of the composers writes meter changes and tempo changes a lot, yet
they don't sound mechanical or artificial, because the way notated is
natural to us.  Sometimes we have guest composers, who might care rather
less, like 3/4 groove moves into 6/8 groove but there is no time sig change.

We usually rehearse 3-4 times before the show.  If music wasn't clearly
dictating, someone, probably rhythm section, will have problem grooving
in a pocket on the day of the show.  This is the way it is for this type
of gigs around here.  I believe the original poster of this thread was
working on contemporary style rather than traditional one.

shirling & neueweise / 2007/03/04 / 12:21 PM wrote:
>i don't recall seeing heavily marked charts before, but other jazz 
>musicians can clarify;

George Russell even writes out bass line, no changes for bass player. 
1972 recording, Living Time, Ron Carter said to George right after the
first reading:
"George, I played all the notes you wrote.  Now do you mind if I try my own?"
Ron of course blew George away.

-- 

- Hiro

Hiroaki Honshuku, A-NO-NE Music, Boston, MA
 


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Re: [Finale] 6/4 & 3/2

[Dean M. Estabrook]

Interesting definition of jazz ...

Dean

On Mar 5, 2007, at 9:32 AM, A-NO-NE Music wrote:



This is still jazz because we still groove between on top
and behind the beat :-)



Dean M. Estabrook
http://deanestabrook.googlepages.com/home

Galileo was able to help debunk some of the tightly held articles  
of faith in the Catholic Church ... could science possibly be  
correct again?







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RE: [Finale] Non-powers of two denominators

[Owain Sutton]

I don't have much to contribute - other than thanks for raising this
topic once again, because it's something I've long been wishing was
easier to do.


> -Original Message-
> From: [EMAIL PROTECTED] 
> [mailto:[EMAIL PROTECTED] On Behalf Of Daniel Wolf
> Sent: 04 March 2007 20:38
> To: finale@shsu.edu
> Subject: Re: [Finale] Non-powers of two denominators
> 
> 
> On my blog, and in some private emails, I've had some discussion 
> recently about the lengthy kludges that are required to notate with 
> non-powers-of-two-denominators, so that the "counting units" are not 
> limited to wholes, halves, quarters, eighth, etc., but also include 
> other rational units, such as triplets ("thirds"), quintuplets 
> ("fifths") etc.. (Please let's not get into a lengthy 
> argument or flame 
> war about why one should or shouldn't want to do this; some 
> of us do it, 
> probably beginning with Henry Cowell, and we do it for legitimate 
> musical reasons. Basta.)  
> 
> The usual solution is to set up a metre that is as close in length as 
> possible as the metre desired,  enter the notes and rhythms 
> we like and 
> then hide the metre. A new metre notation is then inserted as 
> a text or 
> graphic into a space created especially for the metre notation.
> 
> This is unwieldy, especially since it seems like there could 
> be a much 
> easier solution.  Time signature -> Options -> "Use another time 
> signature for display" already allows the presentation of a time 
> signature that is, as far as Finale is concerned, fictional. 
> 
> Given the fictional nature of the notation, does anyone know 
> if there is 
> any structural reason why "Use another time signature for display" 
> should be limited to powers-of-two?  It seems like making 
> only a small 
> change in this feature (allowing other whole numbers in the 
> denominator) 
> would be an easy way for Finale to acquire a larger stake in the 
> experimental/complexity niche.
> 
> Daniel Wolf
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> 


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Re: [Finale] How much can I quote?

[Raymond Horton]

Thanks, Christopher, for that link, and to everyone else for the 
excellent and extremely helpful advice I received here on this subject.



For example, I wonder if the opening 7-note guitar riff from 
Lennon-McCartney's "Yer' Birthday, " used in a serious, somewhat 
quodlibet-type composition (not sampled), used out of the blue to give a 
birthday reference (in other words - meant to be recognizable) would 
constitute plagiarism (my guess is probably) or could it  be protected 
by any sort of artistic license or any other such thing.   Not really a 
musical parody, but possibly close to one. 



Raymond Horton
Louisville Orchestra


Christopher Smith wrote:


On Mar 4, 2007, at 1:00 AM, Raymond Horton wrote:


This sounds to me, already, like a dumb question, but here goes anyway:


Is there any guideline established as to how much I can quote of a 
copyrighted piece of music without getting into trouble?


I know that there are guidelines for broadcast, but are there any for 
compositional plagiarism?  I'm guessing there are not, but hoping 
there are.



Apparently not! I thought the test was a "recognisable" amount, but 
recently read a bunch of court decisions that went all over the 
freakin' place. And of course with sampling, ANY portion at all is 
considered to be licenceable use, recognisable or not.


Columbia Law School has put up a website of music plagiarism cases 
(complete with scores and some recordings).


http://ccnmtl.columbia.edu/projects/law/library/song.html

Be sure to check out:

MCA Music v. Earl Wilson



Christopher



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Re: [Finale] OT: screen capture high quality

[A-NO-NE Music]

You know if you capture screen with Universal Access Zoom, you will be
able to screenshot in bigger size, which you can photoshop to make is
better look.

-- 

- Hiro

Hiroaki Honshuku, A-NO-NE Music, Boston, MA
 


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Re: [Finale] Rights for recorded tunes and arrangements?

[Raymond Horton]

I've got another problem along similar lines and I would appreciate any 
advice.



It's actually in another movement of the same work.  Don't ask me how I 
got into this, and I don't recommend the musical subject as fodder for 
anyone else, but I got a small grant from the state of Indiana to do a 
work based on music of the Indiana Amish.



There, now that you are all done chuckling, here is my immediate 
problem.  I find out that the Swiss Amish in Adams County all yodel.  My 
original plan had been to travel up there last fall (during my only 
extended time off from my orchestra employment) and see if I could 
collect some of these yodels for myself, but during that time I 
protracted an extended illness.  Since then my 90-year old mother's 
worsening condition, (plus corresponding paperwork, etc) has kept me 
occupied nearly every day down here on the southern border of the 
state.  So I am forced to rely, mostly, on the research of others - 
which, actually, is working out OK.  



I was fortunate to spend a day and a half up at the Mennonite Historical 
Room at Goshen College, which has, besides nearly everything written on 
the subject of Amish and Mennonites, a couple of tapes of a bunch of 
Swiss Amish yodels.  One is an an old recording of a family from decades 
ago, and the other a more recent recording of a former Amish woman now 
living in another state. 



I was able to track down the latter woman, have spoken to her several 
times and bought several more recordings from her.  She is quite a 
virtuoso, and her recordings of these old, traditional yodels, which she 
has embellished over the years, can be very useful to my work.  



Do I need her permission to use her versions of these old, traditional 
tunes?



Two of her homemade CDs which she sells are labeled: "copywrite (sic) 
19xx" (no circle c).   A third CD is more commercial looking, but I 
recall it as similarly mislabeled (I can't locate it right now).A 
cassette is not labeled Copyright at all.Most of my needs are met by 
the home-made CDs and cassette (she keeps repeating the same traditional 
songs, with minor variations, and adding originals in which I am not 
interested).



I remember learning that recorded works are not copyright-able, only 
scores are.  Is that still the case?  If not, then these recordings are 
her arrangements.  If so, they have to be considered PD.  I know for a 
fact that she does not have scores, does not read music, because she 
mentioned she has treasured notebooks with the words to all of these songs.



The other, older recordings (not hers) have most of these same tunes, 
but hers are more melismatic.  I would like to be able to draw from all 
of them.



I do not want to rip her off.  I had intended to write her a letter, 
spelling everything out, but she called me yesterday to tell me my check 
made it there ok, and I made the mistake of trying to ask her on the 
phone, only confusing her.  (As with all Amish/former Amish, English is 
not her first language.  She thought a composer paints pictures.)  My 
request worried her, ("I don't want to give up any of my rights") and 
she is going to have her "English" husband call me on Tuesday. 



I will not likely make much, if any money, from this work, so I can't 
really offer any cash.  I could offer them like 5% or 10% of the 
profits, telling them (a) there might not be any, and (b) they will have 
to trust me. 



Thanks greatly for any advice offered.


Raymond Horton
Louisville Orchestra







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Re: [Finale] How much can I quote?

[dhbailey]

Raymond Horton wrote:
Thanks, Christopher, for that link, and to everyone else for the 
excellent and extremely helpful advice I received here on this subject.



For example, I wonder if the opening 7-note guitar riff from 
Lennon-McCartney's "Yer' Birthday, " used in a serious, somewhat 
quodlibet-type composition (not sampled), used out of the blue to give a 
birthday reference (in other words - meant to be recognizable) would 
constitute plagiarism (my guess is probably) or could it  be protected 
by any sort of artistic license or any other such thing.   Not really a 
musical parody, but possibly close to one.



[snip]

My guess would be that such a short quotation would be alright 
[disclaimer: I'm not a lawyer and this is just a guess] since it in no 
way would diminish the merchantability of the original, would in no way 
be mistaken for the original.


I think the only way you could parody that song would be to change the 
lyrics so it didn't refer to a birthday but to a deathday or a wedding 
day or some other sort of special day (even something like "They say 
it's a Tuesday, We're gonna have a dull time." would be a parody) but 
simply throwing in a snippet of the song (unless it were possibly in the 
midst of an arrangement of The Funeral March) wouldn't, in my decidedly 
non-legally-trained mind, constitute any legal parody.



--
David H. Bailey
[EMAIL PROTECTED]
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[Finale] Time signature discussion

[Chuck Israels]

If there is doubt in anyone's mind that simple time signatures are  
the norm in jazz, take a look at this piece, notated as closely as it  
can be according to the way Bill Evans played it.  The bass and drum  
parts remain in 2/4 and a kind of 3/4 that crosses over a 4/4 feeling  
in the bridge,  Notating this according to the surface rhythms would  
render the underlying bass and drum parts unintelligible.


http://homepage.mac.com/cisraels/filechute/Five.pdf

Chuck





Chuck Israels
230 North Garden Terrace
Bellingham, WA 98225-5836
phone (360) 671-3402
fax (360) 676-6055
www.chuckisraels.com

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Re: [Finale] mass mover - partial measure

[David W. Fenton]

On 4 Mar 2007 at 20:06, Aaron Sherber wrote:

> At 07:21 PM 3/4/2007, Bob Florence wrote:
>  >Well I did it. I dragged a section of music with partial measure
>  left >on. Everything is off one beat. This is from 278 - 299. Is
>  there a quick >fix. 
> 
> I think you should be able to leave partial measure on, select the
> section that's off, and drag it (or ctrl-click it) into the right
> position. Seems to work for me, unless I'm misunderstanding you.

Yes, but it won't necessarily fix the broken rests and note values.

The easiest way to fix it is, as soon as it happens hit UNDO!

-- 
David W. Fentonhttp://dfenton.com
David Fenton Associates   http://dfenton.com/DFA/

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Re: [Finale] Time signature discussion

[David W. Fenton]

On 5 Mar 2007 at 13:18, Chuck Israels wrote:

> If there is doubt in anyone's mind that simple time signatures are 
> the norm in jazz, take a look at this piece, notated as closely as it 
> can be according to the way Bill Evans played it.  The bass and drum 
> parts remain in 2/4 and a kind of 3/4 that crosses over a 4/4 feeling 
> in the bridge,  Notating this according to the surface rhythms would 
> render the underlying bass and drum parts unintelligible.

You and Darcy seem to me to be arguing against a straw man. I would 
*never* suggest doing something like that in any other way because 
*that's exactly what the music involved is about* and thus, it's the 
simplest way to notate it.

In the 6/4 vs. 3/2 argument, I was never saying to switch all parts 
between the two meters, but only those parts where the accent pattern 
switched. Now, as it turns out, I've been informed that jazz 
musicians (like the musicians *I* work with) will distinguish in 
their playing between a shift of accent and a shift of meter. I'm 
relieved to know it.

But the point is: I was suggesting that where the music being notated 
actually had a metric shift, it made more sense to notate the metric 
shift. When the point of the musical content is a conflict between 
meters, it can be *much* easier for the musicans playing the 
conflicting meter to understand if you notated in the underlying 
meter, particularly when it's the kind of thing they are accustomed 
to feeling.

-- 
David W. Fentonhttp://dfenton.com
David Fenton Associates   http://dfenton.com/DFA/

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Re: [Finale] Time signature discussion

[Chuck Israels]

Agreed.

Chuck


On Mar 5, 2007, at 1:39 PM, David W. Fenton wrote:


On 5 Mar 2007 at 13:18, Chuck Israels wrote:


If there is doubt in anyone's mind that simple time signatures are
the norm in jazz, take a look at this piece, notated as closely as it
can be according to the way Bill Evans played it.  The bass and drum
parts remain in 2/4 and a kind of 3/4 that crosses over a 4/4 feeling
in the bridge,  Notating this according to the surface rhythms would
render the underlying bass and drum parts unintelligible.


You and Darcy seem to me to be arguing against a straw man. I would
*never* suggest doing something like that in any other way because
*that's exactly what the music involved is about* and thus, it's the
simplest way to notate it.

In the 6/4 vs. 3/2 argument, I was never saying to switch all parts
between the two meters, but only those parts where the accent pattern
switched. Now, as it turns out, I've been informed that jazz
musicians (like the musicians *I* work with) will distinguish in
their playing between a shift of accent and a shift of meter. I'm
relieved to know it.

But the point is: I was suggesting that where the music being notated
actually had a metric shift, it made more sense to notate the metric
shift. When the point of the musical content is a conflict between
meters, it can be *much* easier for the musicans playing the
conflicting meter to understand if you notated in the underlying
meter, particularly when it's the kind of thing they are accustomed
to feeling.

--
David W. Fentonhttp://dfenton.com
David Fenton Associates   http://dfenton.com/DFA/

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Chuck Israels
230 North Garden Terrace
Bellingham, WA 98225-5836
phone (360) 671-3402
fax (360) 676-6055
www.chuckisraels.com

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Re: [Finale] Rights for recorded tunes and arrangements?

[dhbailey]

Raymond Horton wrote:
[snip]
Do I need her permission to use her versions of these old, traditional 
tunes?



Two of her homemade CDs which she sells are labeled: "copywrite (sic) 
19xx" (no circle c).   A third CD is more commercial looking, but I 
recall it as similarly mislabeled (I can't locate it right now).A 
cassette is not labeled Copyright at all.Most of my needs are met by 
the home-made CDs and cassette (she keeps repeating the same traditional 
songs, with minor variations, and adding originals in which I am not 
interested).



I remember learning that recorded works are not copyright-able, only 
scores are.  Is that still the case?  If not, then these recordings are 
her arrangements.  If so, they have to be considered PD.  I know for a 
fact that she does not have scores, does not read music, because she 
mentioned she has treasured notebooks with the words to all of these songs.



The other, older recordings (not hers) have most of these same tunes, 
but hers are more melismatic.  I would like to be able to draw from all 
of them.



I do not want to rip her off.  I had intended to write her a letter, 
spelling everything out, but she called me yesterday to tell me my check 
made it there ok, and I made the mistake of trying to ask her on the 
phone, only confusing her.  (As with all Amish/former Amish, English is 
not her first language.  She thought a composer paints pictures.)  My 
request worried her, ("I don't want to give up any of my rights") and 
she is going to have her "English" husband call me on Tuesday.


I will not likely make much, if any money, from this work, so I can't 
really offer any cash.  I could offer them like 5% or 10% of the 
profits, telling them (a) there might not be any, and (b) they will have 
to trust me.




The recordings may not be copyrighted, but that just means that you can 
make copies of the recordings.  All the copyrights in the music itself 
still stand, even if the recording itself isn't copyrighted.


In other words, you could probably duplicate the tapes and not pay her a 
penny as artist, but you would owe her the mechanical reproduction 
royalties as she is the composer of the music recorded on them.


Aaron Copland "borrowed" pretty wholeheartedly from a Library of 
Congress recording of Bonaparte's Retreat for Hoedown, and I've never 
seen any credits given to the fiddler who made the recording -- I had 
the great good fortune to hear the recording on the radio, and one 
single person playing the fiddle played all the notes that Copland took 
a whole orchestra to play (and they have problems!).  So if he could do 
that, you might be able to do the same.  However the morality of it 
would dictate that you come to some understanding with the woman.  And 
these days the legality would dictate some sort of legal contract with 
her also.  When Copland borrowed the music for Hoedown, music was only 
copyrighted when it was written down and registered with the Library of 
Congress and each copy of it had to bear the copyright notice, so what 
Copland did was legal even if not really moral.


As for you making money on this project, you may not make much from 
future sales, but you've already made some money, so maybe you could 
offer a one-time payment and a percentage of future profits.


It's a sticky situation, especially now that you've opened the door to 
the payment of royalties.  Is there any way from the various yodels 
you've heard that you could take a folk song and create your own version 
without stepping on her music?  At the very least, whatever contract you 
sign with her should stipulate that aside from your quotation of her 
yodels in your work, she retains all rights to her music.


Good luck -- this is where an attorney might be a good idea.


--
David H. Bailey
[EMAIL PROTECTED]
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[Finale] malapropism alert!

[Andrew Stiller]

 I protracted an extended illness.


Contracted. "I contracted an extended illness." Or maybe "I contracted 
a protracted illness" :->


Andrew Stiller
Kallisti Music Press
http://www.kallistimusic.com/kallisti.html

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Re: [Finale] malapropism alert!

[YATESLAWRENCE]

or maybe he extended a contracted protracted illness?
 
Cheers,
 
Lawrence
 
lawrenceyates.co.uk
   
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Re: [Finale] Rights for recorded tunes and arrangements?

[Christopher Smith]

On 5-Mar-07, at 3:18 PM, Raymond Horton wrote:

I was fortunate to spend a day and a half up at the Mennonite  
Historical Room at Goshen College, which has, besides nearly  
everything written on the subject of Amish and Mennonites,



On my dad's dad's side, they are Mennonite. Apparently I am related  
to everyone in the world with a surname Reesor, which by all reports  
is quite a list. Say hi if you run into one of my cousins! 8-)


Christopher


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[Finale] Preferences disappearing!

[Brennon Bortz]

Sorry about that...should have changed to a new subject...  Let's try  
it again.


Thanks,
Brennon

On Mar 5, 2007, at 3:29 PM, Brennon Bortz wrote:

Does anyone know why my preferences seem to disappear with each  
restart of Finale (2006d, Mac)?  My file paths, fonts, autosave  
options, everything reverts to the default settings each time I  
open the program.  Any ideas?


Thanks,

Brennon Bortz
Teaching Assistant and Graduate Student - Music Composition
University of California, Riverside
[EMAIL PROTECTED]



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Brennon Bortz
Teaching Assistant and Graduate Student - Music Composition
University of California, Riverside
[EMAIL PROTECTED]



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Re: [Finale] German

[Brennon Bortz]

Does anyone know why my preferences seem to disappear with each  
restart of Finale (2006d, Mac)?  My file paths, fonts, autosave  
options, everything reverts to the default settings each time I open  
the program.  Any ideas?


Thanks,

Brennon Bortz
Teaching Assistant and Graduate Student - Music Composition
University of California, Riverside
[EMAIL PROTECTED]



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[Finale] Beaming groups of three

[Brennon Bortz]

My apologies if this has already been covered somewhere.  If it's in  
the manual, I can't seem to find it.  A direction to the appropriate  
chapter will suffice for an answer.


I know in Document Options, one can choose to beam groups of four in  
common time, but is there a way to beam groups of three in compound  
meters?  Say, beam each of the three groups of three eighth notes  
together in 9/8?  It's such a hassle to have to rebeam each  
individual measure


Thanks,

Brennon Bortz
Teaching Assistant and Graduate Student - Music Composition
University of California, Riverside
[EMAIL PROTECTED]



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AW: [Finale] Take 6

[Oliver Pospiech]

Thanks! I don't find the link to the transcriptions on their website.
In general I know their style, but I have some difficulties especially with
this one...



>On their official fan site www.take6.com you can find somewhere some
transcriptions of T6 arrangements made by fans. There is also an official
book of arrangements on sale on that site.
I had a look at their arrangements and tried to transcribe some of these.
They use very close harmonies to get that unique sound (melted with their
"very special" voices), often using clusters and open jazzy harmonies.

-Messaggio Originale-
Da: "Oliver Pospiech" <[EMAIL PROTECTED]>
A: 
Data invio: lunedì 5 marzo 2007 1.49
Oggetto: [Finale] Take 6


> Hello,
>
> I have to transcribe "O Thou That Tellest Good Tidings to Zion" sung by
> Take6 on "Handels Messiah/A Soulful Celebration". Does anybody have
> experiences with Take6-style? You also may contact me off-list.
>
> Thanks,
>
> Oliver
>
> [EMAIL PROTECTED]
>
> ___
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Re: [Finale] malapropism alert!

[Raymond Horton]

I got sick.

Andrew Stiller wrote:



 I protracted an extended illness.


Contracted. "I contracted an extended illness." Or maybe "I contracted 
a protracted illness" :->


Andrew Stiller
Kallisti Music Press
http://www.kallistimusic.com/kallisti.html

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Re: [Finale] Beaming groups of three

[Christopher Smith]

On Mar 5, 2007, at 6:28 PM, Brennon Bortz wrote:

My apologies if this has already been covered somewhere.  If it's  
in the manual, I can't seem to find it.  A direction to the  
appropriate chapter will suffice for an answer.


I know in Document Options, one can choose to beam groups of four  
in common time, but is there a way to beam groups of three in  
compound meters?  Say, beam each of the three groups of three  
eighth notes together in 9/8?  It's such a hassle to have to rebeam  
each individual measure


Set your time signature to 3 on the top and dotted quarter on the  
bottom, not 9 on the top and 8 on the bottom. Then any music entered  
after that will conform. To change music already entered, choose Mass  
Edit>Rebeam to time signature (or something obvious like that.)


C.



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Re: [Finale] malapropism alert!

[Kim Patrick Clow]

On 3/5/07, Raymond Horton <[EMAIL PROTECTED]> wrote:

Rather than correct your spelling, let me wish you speedy recovery.

Take care,
Kim Patrick Clow
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Re: [Finale] malapropism alert!

[Raymond Horton]

Thanks!  Very kind of you.  I am long recovered, and trying to finish 
this work for a June deadline.   


Kim Patrick Clow wrote:

On 3/5/07, Raymond Horton <[EMAIL PROTECTED]> wrote:

Rather than correct your spelling, let me wish you speedy recovery.

Take care,
Kim Patrick Clow


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Re: [Finale] Rights for recorded tunes and arrangements?

[Raymond Horton]

But what if there are NO copyrights of the music itself?  None of these 
tunes were ever copyrighted, that I know of.  This woman has some 
elaborated versions of the tunes on her recordings, but I don't believe 
any notated versions exist of the traditional tunes.  (They date back to 
Switzerland in the 1800s at the latest. )



Thanks,
RBH


dhbailey wrote:

Raymond Horton wrote:
[snip]
Do I need her permission to use her versions of these old, 
traditional tunes?



Two of her homemade CDs which she sells are labeled: "copywrite (sic) 
19xx" (no circle c).   A third CD is more commercial looking, but I 
recall it as similarly mislabeled (I can't locate it right now).A 
cassette is not labeled Copyright at all.Most of my needs are met 
by the home-made CDs and cassette (she keeps repeating the same 
traditional songs, with minor variations, and adding originals in 
which I am not interested).



I remember learning that recorded works are not copyright-able, only 
scores are.  Is that still the case?  If not, then these recordings 
are her arrangements.  If so, they have to be considered PD.  I know 
for a fact that she does not have scores, does not read music, 
because she mentioned she has treasured notebooks with the words to 
all of these songs.



The other, older recordings (not hers) have most of these same tunes, 
but hers are more melismatic.  I would like to be able to draw from 
all of them.



I do not want to rip her off.  I had intended to write her a letter, 
spelling everything out, but she called me yesterday to tell me my 
check made it there ok, and I made the mistake of trying to ask her 
on the phone, only confusing her.  (As with all Amish/former Amish, 
English is not her first language.  She thought a composer paints 
pictures.)  My request worried her, ("I don't want to give up any of 
my rights") and she is going to have her "English" husband call me on 
Tuesday.


I will not likely make much, if any money, from this work, so I can't 
really offer any cash.  I could offer them like 5% or 10% of the 
profits, telling them (a) there might not be any, and (b) they will 
have to trust me.




The recordings may not be copyrighted, but that just means that you 
can make copies of the recordings.  All the copyrights in the music 
itself still stand, even if the recording itself isn't copyrighted.


In other words, you could probably duplicate the tapes and not pay her 
a penny as artist, but you would owe her the mechanical reproduction 
royalties as she is the composer of the music recorded on them.


Aaron Copland "borrowed" pretty wholeheartedly from a Library of 
Congress recording of Bonaparte's Retreat for Hoedown, and I've never 
seen any credits given to the fiddler who made the recording -- I had 
the great good fortune to hear the recording on the radio, and one 
single person playing the fiddle played all the notes that Copland 
took a whole orchestra to play (and they have problems!).  So if he 
could do that, you might be able to do the same.  However the morality 
of it would dictate that you come to some understanding with the 
woman.  And these days the legality would dictate some sort of legal 
contract with her also.  When Copland borrowed the music for Hoedown, 
music was only copyrighted when it was written down and registered 
with the Library of Congress and each copy of it had to bear the 
copyright notice, so what Copland did was legal even if not really moral.


As for you making money on this project, you may not make much from 
future sales, but you've already made some money, so maybe you could 
offer a one-time payment and a percentage of future profits.


It's a sticky situation, especially now that you've opened the door to 
the payment of royalties.  Is there any way from the various yodels 
you've heard that you could take a folk song and create your own 
version without stepping on her music?  At the very least, whatever 
contract you sign with her should stipulate that aside from your 
quotation of her yodels in your work, she retains all rights to her 
music.


Good luck -- this is where an attorney might be a good idea.




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RE: [Finale] Take 6

[keith helgesen]

I too looked at the site- but couldn't find either a link to transcriptions
or a 'listen to this' button.

Cheers K in OZ

Keith Helgesen.
Ph: (02) 62910787. 
Mob 0417-042171

-Original Message-
From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of
Oliver Pospiech
Sent: Tuesday, 6 March 2007 10:54 AM
To: finale@shsu.edu
Subject: AW: [Finale] Take 6

Thanks! I don't find the link to the transcriptions on their website.
In general I know their style, but I have some difficulties especially with
this one...



>On their official fan site www.take6.com you can find somewhere some
transcriptions of T6 arrangements made by fans. There is also an official
book of arrangements on sale on that site.
I had a look at their arrangements and tried to transcribe some of these.
They use very close harmonies to get that unique sound (melted with their
"very special" voices), often using clusters and open jazzy harmonies.

-Messaggio Originale-
Da: "Oliver Pospiech" <[EMAIL PROTECTED]>
A: 
Data invio: lunedì 5 marzo 2007 1.49
Oggetto: [Finale] Take 6


> Hello,
>
> I have to transcribe "O Thou That Tellest Good Tidings to Zion" sung by
> Take6 on "Handels Messiah/A Soulful Celebration". Does anybody have
> experiences with Take6-style? You also may contact me off-list.
>
> Thanks,
>
> Oliver
>
> [EMAIL PROTECTED]
>
> ___
> Finale mailing list
> Finale@shsu.edu
> http://lists.shsu.edu/mailman/listinfo/finale 

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RE: [Finale] Take 6

[Derek Kane]

The web-site has been revamped recently.  There used to be a link that had
just PDFs and midis.  It is no longer available.

I have a few arrangements that I've done from some of those files.

Perhaps we need to send emails and requests to get those files back on the
site.

D~

-Original Message-
From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of
keith helgesen
Sent: Monday, March 05, 2007 4:34 PM
To: finale@shsu.edu
Subject: RE: [Finale] Take 6

I too looked at the site- but couldn't find either a link to transcriptions
or a 'listen to this' button.

Cheers K in OZ

Keith Helgesen.
Ph: (02) 62910787. 
Mob 0417-042171

-Original Message-
From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of
Oliver Pospiech
Sent: Tuesday, 6 March 2007 10:54 AM
To: finale@shsu.edu
Subject: AW: [Finale] Take 6

Thanks! I don't find the link to the transcriptions on their website.
In general I know their style, but I have some difficulties especially with
this one...



>On their official fan site www.take6.com you can find somewhere some
transcriptions of T6 arrangements made by fans. There is also an official
book of arrangements on sale on that site.
I had a look at their arrangements and tried to transcribe some of these.
They use very close harmonies to get that unique sound (melted with their
"very special" voices), often using clusters and open jazzy harmonies.

-Messaggio Originale-
Da: "Oliver Pospiech" <[EMAIL PROTECTED]>
A: 
Data invio: lunedì 5 marzo 2007 1.49
Oggetto: [Finale] Take 6


> Hello,
>
> I have to transcribe "O Thou That Tellest Good Tidings to Zion" sung by
> Take6 on "Handels Messiah/A Soulful Celebration". Does anybody have
> experiences with Take6-style? You also may contact me off-list.
>
> Thanks,
>
> Oliver
>
> [EMAIL PROTECTED]
>
> ___
> Finale mailing list
> Finale@shsu.edu
> http://lists.shsu.edu/mailman/listinfo/finale 

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Re: [Finale] Rights for recorded tunes and arrangements?

[John Howell]

At 3:18 PM -0500 3/5/07, Raymond Horton wrote:
One is an an old recording of a family from decades ago, and the 
other a more recent recording of a former Amish woman now living in 
another state.


I was able to track down the latter woman, have spoken to her 
several times and bought several more recordings from her.  She is 
quite a virtuoso, and her recordings of these old, traditional 
yodels, which she has embellished over the years, can be very useful 
to my work. 


Do I need her permission to use her versions of these old, traditional tunes?

Two of her homemade CDs which she sells are labeled: "copywrite 
(sic) 19xx" (no circle c).   A third CD is more commercial looking, 
but I recall it as similarly mislabeled (I can't locate it right 
now).A cassette is not labeled Copyright at all.Most of my 
needs are met by the home-made CDs and cassette (she keeps repeating 
the same traditional songs, with minor variations, and adding 
originals in which I am not interested).


Too many questions remaining!!!  (1) How do you plan to use the 
recordings?  Sampling?  Using the recording itself in some way?  As a 
source of a particular yodel?  As a source to recreate 
(instrumentally?) a generic yodel based on an authentic source?  And 
what is/are the date(s) of the claimed copyright?


Prior to the new copryight law being phased in (which is to say under 
the 1909 copyright law) the copyright notice in a very specific form 
and no other form was a requirement, and anything published without 
it automatically entered the public domain.


I remember learning that recorded works are not copyright-able, only 
scores are.  Is that still the case?


No, absolutely not, and not for quite a while.  It was the case under 
the 1909 law, but during the runup to the revision that was passed in 
1976 and took effect in 1978 Congress finally got around to adding 
copyright to recordings.  But again, the form was specified, and 
required p-in-a-circle (for "phonorecord") rather than c-in-a-circle. 
I seem to remember 1972 as the first year in which recordings could 
actually be copyrighted, but I could easily be wrong.


But that's not even the main question!  There would be a copyright in 
the song itself, unless it was PD.  There would be a copyright in the 
arrangement, unless it was old enough to be PD itself or arranged 
without permission.  And the actual ownership of the recording can be 
a real can of worms, although probably not in this case.  And of 
course copyright in the recording is a copyright for the performance 
on that recording.


If not, then these recordings are her arrangements.  If so, they 
have to be considered PD.


Why?

I know for a fact that she does not have scores, does not read 
music, because she mentioned she has treasured notebooks with the 
words to all of these songs.


Again, the dates, both for her recordings and for the others you 
found, are crucial.


The other, older recordings (not hers) have most of these same 
tunes, but hers are more melismatic.  I would like to be able to 
draw from all of them.


I do not want to rip her off.  I had intended to write her a letter, 
spelling everything out, but she called me yesterday to tell me my 
check made it there ok, and I made the mistake of trying to ask her 
on the phone, only confusing her.  (As with all Amish/former Amish, 
English is not her first language.  She thought a composer paints 
pictures.)  My request worried her, ("I don't want to give up any of 
my rights") and she is going to have her "English" husband call me 
on Tuesday.


I will not likely make much, if any money, from this work, so I 
can't really offer any cash.  I could offer them like 5% or 10% of 
the profits, telling them (a) there might not be any, and (b) they 
will have to trust me.


Make her feel good.  Make her feel that her work is valued.  Ask 
permission, and give her something in writing that makes it clear 
that by giving you permission for whatever your use will be, she is 
not giving up any of her rights.


I, like David Bailey and most others here, and am not a lawyer and 
this is not legal advice.


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] Rights for recorded tunes and arrangements?

[John Howell]

At 5:13 PM -0500 3/5/07, dhbailey wrote:


Aaron Copland "borrowed" pretty wholeheartedly from a Library of 
Congress recording of Bonaparte's Retreat for Hoedown, and I've 
never seen any credits given to the fiddler who made the recording 
-- I had the great good fortune to hear the recording on the radio, 
and one single person playing the fiddle played all the notes that 
Copland took a whole orchestra to play (and they have problems!).


Fascinating!!  But it depends on exactly what part of LC you're 
talking about.  If you're talking about the Archive of Folk Culture 
(not sure what the real name for it is)--the Depression-Era project 
supervised by Charles Seeger that went out and made field recordings 
representing Appalachian music--then those field recordings ARE ALL 
IN THE PUBLIC DOMAIN.  (Made by the government, paid for by the 
government.  Lots of people don't realize that, and the son of one of 
the people involved in the project claims, to this day, that he 
"owns" every song that was collected.  He doesn't, of course.


But if you're talking about recordings that were copyrighted and 
deposited in LC's collection, that doesn't apply of course.


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] Rights for recorded tunes and arrangements?

[Raymond Horton]

No, no.  No use of the recordings themselves.  Sorry for the confusion.  
I am writing an instrumental composition, using these old tunes.  These 
are tunes that have been sung by virtually ALL of the Amish in Adams 
County, Indiana, since they came over from Switzerland around 1815.  I 
only have a couple of sources for the tunes, and hers are the best and 
most complete.   



This woman doesn't own the songs.  She just yodels better than most, ("I 
was yodeling before I was one year old") sings more melismatic versions 
than most and has recorded them (released without the proper copyright 
symbols, but within the last two decades).   (Few Amish record, anyway, 
of course.  She left the faith as a teen to join a Pentecostal church.)



There's no copyright in the song, unless, by her making a recording of 
an old folk song, slapping a "1986 copywrite 1986" [and no symbol],  she 
has managed to gain ownership of a formerly PD song without registering 
a score anywhere.  I tend to doubt that she owns these old songs.  But 
who knows?




They other old recordings are Alan Lomax discs from 1937.  They have 
some of the same songs, with simpler yodels.  Same questions arise - 
probably the first time these songs were recorded.  So maybe my woman 
would not own the songs that Lomax recorded before, or were they too 
early for the 1970's law to protect? 




I still would maintain that they all are PD folk songs.   But in any 
case, you are right about treating her right to get her permission, so 
there is no problem, and no hard feelings.  She is a good simple, 
person.   I just want to have some idea  of what I'm talking about  when 
her husband calls me tomorrow!



Thanks,


RBH


John Howell wrote:


Too many questions remaining!!!  (1) How do you plan to use the 
recordings?  Sampling?  Using the recording itself in some way?  As a 
source of a particular yodel?  As a source to recreate 
(instrumentally?) a generic yodel based on an authentic source?  And 
what is/are the date(s) of the claimed copyright?


Prior to the new copryight law being phased in (which is to say under 
the 1909 copyright law) the copyright notice in a very specific form 
and no other form was a requirement, and anything published without it 
automatically entered the public domain.


I remember learning that recorded works are not copyright-able, only 
scores are.  Is that still the case?


No, absolutely not, and not for quite a while.  It was the case under 
the 1909 law, but during the runup to the revision that was passed in 
1976 and took effect in 1978 Congress finally got around to adding 
copyright to recordings.  But again, the form was specified, and 
required p-in-a-circle (for "phonorecord") rather than c-in-a-circle. 
I seem to remember 1972 as the first year in which recordings could 
actually be copyrighted, but I could easily be wrong.


But that's not even the main question!  There would be a copyright in 
the song itself, unless it was PD.  There would be a copyright in the 
arrangement, unless it was old enough to be PD itself or arranged 
without permission.  And the actual ownership of the recording can be 
a real can of worms, although probably not in this case.  And of 
course copyright in the recording is a copyright for the performance 
on that recording.


If not, then these recordings are her arrangements.  If so, they have 
to be considered PD.


Why?

I know for a fact that she does not have scores, does not read music, 
because she mentioned she has treasured notebooks with the words to 
all of these songs.


Again, the dates, both for her recordings and for the others you 
found, are crucial.


The other, older recordings (not hers) have most of these same tunes, 
but hers are more melismatic.  I would like to be able to draw from 
all of them.


I do not want to rip her off.  I had intended to write her a letter, 
spelling everything out, but she called me yesterday to tell me my 
check made it there ok, and I made the mistake of trying to ask her 
on the phone, only confusing her.  (As with all Amish/former Amish, 
English is not her first language.  She thought a composer paints 
pictures.)  My request worried her, ("I don't want to give up any of 
my rights") and she is going to have her "English" husband call me on 
Tuesday.


I will not likely make much, if any money, from this work, so I can't 
really offer any cash.  I could offer them like 5% or 10% of the 
profits, telling them (a) there might not be any, and (b) they will 
have to trust me.


Make her feel good.  Make her feel that her work is valued.  Ask 
permission, and give her something in writing that makes it clear that 
by giving you permission for whatever your use will be, she is not 
giving up any of her rights.


I, like David Bailey and most others here, and am not a lawyer and 
this is not legal advice.


John




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Re: [Finale] Rights for recorded tunes and arrangements?

[Raymond Horton]

Another thought:


For another way of thinking of these yodels, compare them to theme and 
variations, like "Carnival of Venice."   For each of these tunes, 
everybody (Amish) in Adams County sings the tune, then does variations 
(the yodels).  Everybody knows "Carnival of Venice, " nobody owns it, 
but Arbans wrote the best set of variations, but his might have been 
based on earlier ones.  Fannie K. (the woman on the recordings) is the 
Arban of the yodels, but her versions only exist on records.  Even if 
she owns her set of variations, which she might, does she own "Carnival 
of Venice?"



RBH



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Re: [Finale] Take 6

[mnoia]

In the main forum you have to search for a topic called something like T6MB 
trade shop. In that topic you'll find links posted by users where to find 
their transcriptions.
This tricky method exists because there is not a transcription page yet and 
because official arrangements are being put on sale, so not all of the 
transcriptions will remain "legal".


-Messaggio Originale- 
Da: "keith helgesen" <[EMAIL PROTECTED]>

A: 
Data invio: martedì 6 marzo 2007 1.33
Oggetto: RE: [Finale] Take 6



I too looked at the site- but couldn't find either a link to transcriptions
or a 'listen to this' button.

Cheers K in OZ

Keith Helgesen.
Ph: (02) 62910787.
Mob 0417-042171

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

Oliver Pospiech
Sent: Tuesday, 6 March 2007 10:54 AM
To: finale@shsu.edu
Subject: AW: [Finale] Take 6

Thanks! I don't find the link to the transcriptions on their website.
In general I know their style, but I have some difficulties especially 
with

this one...




On their official fan site www.take6.com you can find somewhere some

transcriptions of T6 arrangements made by fans. There is also an official
book of arrangements on sale on that site.
I had a look at their arrangements and tried to transcribe some of these.
They use very close harmonies to get that unique sound (melted with their
"very special" voices), often using clusters and open jazzy harmonies.

-Messaggio Originale-
Da: "Oliver Pospiech" <[EMAIL PROTECTED]>
A: 
Data invio: lunedì 5 marzo 2007 1.49
Oggetto: [Finale] Take 6



Hello,

I have to transcribe "O Thou That Tellest Good Tidings to Zion" sung by
Take6 on "Handels Messiah/A Soulful Celebration". Does anybody have
experiences with Take6-style? You also may contact me off-list.

Thanks,

Oliver

[EMAIL PROTECTED]

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Prefs, was: Re: [Finale] German

[Johannes Gebauer]

Does anyone know why my preferences seem to disappear with each restart of 
Finale (2006d, Mac)?  My file paths, fonts, autosave options, everything 
reverts to the default settings each time I open the program.  Any ideas?


Did you save preferences manually?

Johannes
--
http://www.musikmanufaktur.com
http://www.camerata-berolinensis.de
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